Ty Segall has never had a problem coming up with ideas. Just take a gander at all of the work he’s put out in a short amount of time; since 2011, he’s released more than five records under one moniker or another. Admittedly, Segall’s brand of fuzz rock isn’t inherently complex, which no doubt contributes to his prolific nature and his rush to get his songs out.

Still, his latest, Manipulator (Drag City Records), is a clear stand-out in his discography. This record took a 14-month period to produce, which is an eternity by Segall’s standards, and the extra work is immediately apparent. A quick listen over Manipulator finds a big-budget Segall (or maybe just a patient one), with vocal overdubs, expanded instrumentation, and simply more songs. Where other artists often become increasingly rushed as they garner attention and production value, Segall took his time enlivening his sound. Manipulator’s is only a slight diversification from Segall’s bread and butter, but even so, it makes for what perhaps might be Segall’s most definitive record to date.

“The Clock” and “Stick Around” provide a short run-through of Segall’s tampering. The former is an unrelenting acoustic-driven piece with an audacity reminiscent of Mason Williams’ “Classical Gas.” Meanwhile, “Stick Around” channels The Who–style timbres backed with lush string arrangements, culminating in a pleasurable cognitive dissonance between the song’s initial pop foray and the psychedelic rock jam it ends up becoming.

Like 2012’s Twins, Manipulator plays out as a series of psych-rock tracks of varying amplitudes, with most of them warranting being blasted at high volume. Like the majority of the record, “It’s Over” and “Feel” have motorized licks matched to chugging bass lines, while the title track is introduced by a Doors-style organ. Some cuts, however, are all-out grooves, with “Green Belly” and “Mister Main” straying far from Segall’s typical raunchiness. This is a new nuance for Segall, and it seems with Manipulator his goals changed slightly. He told Pitchfork, it “was about finding out how to become a perfectionist while holding on to that rawness.” As such, it appears that Segall hit the nail straight on the proverbial head with Manipulator.