Prolific is an understatement when describing Ty Segall. When he isn’t collaborating with musicians such as Mikal Cronin and White fence, or constantly touring, he’s releasing consistently great albums at a sweltering pace. In Fuzz, his newest endeavour, he’s teamed up with long time friends, Charlie Moothart and Roland Cosio, to create a psyched-out homage to the likes of Blue Cheer, Black Sabbath and Monster Magnet. While Charlie Moothart lays down the riffs on guitar, and Roland Cosio plays bass, Segall swaps his guitar from drumsticks, and holds everything together on the kit. Even though Segall is playing the drums, his vocals are still ever present, and he serves as the main songwriter for most of the tracks on this record.
As the opening note rings, it’s obvious that this is going to be a whole different affair from what we are used to hearing from Ty Segall. Starting off with a low-end feedback drone that gently segues into a series of witchy guitar licks courtesy of Moothart, it isn’t until the tempo speeds up that we have a full understanding of what we’re about to experience. Segall’s iconic voice matched with Moothart’s dusty riffs give us the perfect balance between early-70s proto-metal and trippy psych-rock. The end result is absolutely punishing.
The next track, “Sleigh Ride,” features Segall wailing some of gloomiest lyrics, which are almost completely masked by the fuzzed out guitars and loose drumming. This track goes straight to the point, keeping more or less the same fast-paced tempo throughout the entirety of the song and featuring minimal solos. It says what has to be says and doesn’t bore you with the details.
What’s In My Head
If there was one track on this record that were to capture Segall’s sensitive and fragile side, it would be this one. With the focus set mostly on Segall’s sneering voice, the track is built almost entirely on the Steve Albini quiet-loud formula, before breaking into some of the more melodic leads this album has to offer.
“HazeMaze” is essentially a two part song: it starts with a swaggering blues riff and finishes strong with one of the fastest paced and hardest hitting sections on this record. This track is also the first time Fuzz have demonstrated their garage-punk background, the heavy mix of quick pace and psychedelia makes this track sound less like Blue Cheer, and more like Thee Oh See’s.
One of the most sonically varied tracks this album has to offer, “Loose Sutures” is cold hard proof of Fuzz’s ability to cleanly go from one monster riff to another. Even though the drum and bass breakdown in the middle of the song seems a tad excessive, the band makes up for it with the help of Moothart’s wailing tones, Segall’s frantic pounding on the drums, and Cosio’s gut wrenching bass tones. This 6 minute piece easily feels like it could’ve gone on for another 10.
The album’s shortest song, at only 2:20. This track wastes no time, with the help of its driving bass line, and muddy drums, and heavy riff, this track is the closest you’ll get to his 2012 release with the Ty Segall Band.
Demonic is the best word to describe the record’s 7th track, whether it be due to Moothart’s deadly, extremely Iommi-esque riff, or Segall’s ghoulish backing singing, or even Moothart’s baritone lead vocals, every aspect of this track is more devilish than the last.
This crazed instrumental track serves as the closer for this equally frantic album. Its monster riffs advance at stunning pace, like a train with no brakes, and show no sign of turning back. Keeping the same tempo throughout the whole track, this track could very well serve as a representation of the entire album due to its urgentness, swagger, mind bending tones and head-spinning psychedelia.