Ty Segall seems to bring out the best in the many artists he produces, especially those who may need a little nudge in a more experimental direction. For Annabelle Chairlegs’ Lindsey Mackin, it was a matter of finding a grittier, more mechanized vehicle for her hooky, beguiling desert-noir sound. Waking Up (Todo) is an apt title for Mackin’s third release. Parts of it sound like an eye-opening fusion of X and Jessica Lea Mayfield. Overall, it feels like the work of a talented misfit aligned with a new sense purpose, one who’s taking on life’s dark forces, guitar in hand. With a little help, of course, from her new friend Ty.
So who is Annabelle Chairlegs anyhow? MAGNET’s Hobart Rowland investigates.
You’ve said that Annabelle Chairlegs is an “alter ego” from your college-rock band. Tell us more about that group.
They were called Treemotel. I went to college in Santa Fe, N.M., and it was there I met the group. It’s the brainchild of Mark Williams. We went to an art college and somehow all ended up playing together. It was one of those magical times when it was mostly everyone’s first band, and we all ended up hanging out and making music all the time. We spent so much time together that we made up silly secret nicknames that we all went by. I was Annabelle Chairlegs—for no reason at all. Those were the days.
You’ve been living in Austin since 2013. How did you find your way there, and how has the city’s diverse music scene embraced you?
I actually moved with Treemotel from Santa Fe to Austin. As soon as we got here, we were desperate to meet people and start playing shows. We went out one night to Hotel Vegas and started talking to everyone. We threw a house show and invited a bunch of bands to play. It was nothing but supportive—and I still feel that here in Austin. Everyone is so supportive and cool—but not too cool—and down to earth.
How would you chart the evolution of your sound since your first album, 2017’s Watermelon Summer?
It’s taken some twists and turns for sure. Watermelon Summer was kind of sweet, and it feels like Santa Fe to me. My music has gotten progressively heavier and darker, which was a true reflection of what my life was looking like when I wrote the songs. This album is on the dark and chaotic side, but in true Chairlegs fashion, there’s still some laughing going on. I’m excited to see what’s next and where the sound goes.
What was it like working with Ty Segall on Waking Up?
Working with Ty was fucking sick. He gets it. He’s so talented and locked in. I just had a feeling it would be a really great experience—and it truly was. I could go on and on.
Waking Up has been described as your most personal release to date. Would you agree?
All the releases are so personal to me. They feel like my cartoon diary. Waking Up is different because it was the first one where I really thought about every place and intention and how to transform the feelings into sound. I went with the gut feeling of the song and nothing else. Ty had an understanding of what I wanted to accomplish, and it just feels like we found the place where it exists now. And it’s cool and unexpected. It was also really sick to play all the guitar parts. In the past, others would play or I didn’t trust my ability as much. Ty pushed me to lock in. I love how it turned out.
