Album Review: Fuzz by Fuzz

Ty Segall has some pretty masterful collaborations behind him, but none are quite as fully realized as FUZZ. A power trio in the truest sense, these dudes have chemistry like old friends—which they are—and they’ve found a way to make proto-metal new again with this self-titled debut. Segall pulls double duty as vocalist and drummer here, and seamlessly to boot.

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Ty Segall has his grubby little mitts in so many projects, and cranks out so many records in a year, I keep expecting it to taint the quality. But it never does.His latest project, Fuzz, finds Segall taking a backseat (or, more accurately, a drum stool) to the band’s riffmeister Charlie Moothart, who also worked with him—not surprisingly—on the relentlessly noisy Slaughterhouse record. Fuzz would be an apt description for most of Segall’s work, so it doesn’t offer much as an identifier on the band’s self-titled debut.

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He may play garage rock like a total slacker, but Ty Segall is not a man who waits around on the sidelines to release an album. The San Franciscan has already put out a solo record this year (‘Sleeper’) and now he returns as the drummer/vocalist in new band Fuzz, with guitarist Charlie Moothart (an old schoolfriend and regular collaborator) and bassist Roland Cosio. The band only formed in January and consequently their debut fizzes with spontaneity, its sinuous riffs and Sabbath-indebted rhythm section playing at a delirious punk-rock speed, frolicking around in the dirgey sonic sludge like piglets in mud.

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FUZZ, allegedly named after the legendary Fuzz Face guitar pedal first issued in 1966 as worshipped by the likes of Hendrix, Townshend et al, are somewhat of a San Francisco supergroup - Ty Segall on drums, Charlie Moonhart on guitar, and bassist Roland Cosio. And their self-titled debut is a bit of a face-melter.Throughout it there are hints of 60’s psych, classic rock, prog, metal, punk, grunge and even krautrock. Be it the Hendrix-esque solo on ‘One’, or the progressive 10/4 time signature of ‘Sleigh Ride’, it’s clear that these three San Francisco boys know their rock.

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FuzzFuzz[In The Red; 2013]By Joshua Pickard; November 10, 2013Purchase at: Insound (Vinyl) | Amazon (MP3 & CD) | iTunes | MOGTweetThere’s something to be said for the ability to write a really great guitar riff. It’s become something of a lost art in recent years, with digital manipulation and studio polish taking the bite out of many guitar-based bands. Of course, you’ve got your vetted ax slingers like Jack White and Josh Homme (and a smattering of authentic lo-fi garage rockers – I’m looking at you Burger Records), but it’s getting harder and harder to name specific guitarists who bend those strings to their own purpose and aren’t simply rehashing the same progressions that we’ve all heard a thousand times before.

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In recent years, even when he's sharing the spotlight, Ty Segall has been the central focus of his endeavors: Ty Segall and White Fence, Ty Segall and Mikal Cronin, Ty Segall Band. With Fuzz, even though he's stepped back to the drumset, he's still the singer, he's still helping to write the songs, and he's really good at drumming. Segall's records come with that inevitable "prolific songwriter" baggage, and that might be why Fuzz tried to stay anonymous when they released their first single.

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It’s been a strange year for Ty Segall. The glut of releases is nothing new, but what that material comprised marked a few changes in the Segall’s musical world. First, there was a mining of the past in reissues of both a record by his old band, the Traditional Fools, and a originally tour-only collaboration with Mikal Cronin. Though interesting, they seemed like stop-gap stuff to fill an unusually long gap in new output from Segall.

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The word "prolific" comes up in almost every discussion of San Francisco songwriter, multi-instrumentalist, and garage-psych wonder Ty Segall. With a discography that grew almost exponentially ever since he came onto the scene in the late 2000s, productivity with uncommonly strong results became one of his calling cards. With Fuzz, Segall joins longtime friends and collaborators Charles Moothart and Roland Cosio to create a band deserving of its own entity status, channeling the (aptly) fuzzy guitar tones, tin-can drums, and saturated psychedelia of early-'70s proto-metal gods like Blue Cheer, the Groundhogs, and Jimi Hendrix.

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Critiques in the media about the rising millennial generation hones in on a fabricated laziness, while, paradoxically, critiques of young amp-melter Ty Segall pluck mostly at vaulting ambitions. If he put out less than three records a year, apparently he’d be more successful. The releases wouldn’t blend together and we could process them each better.

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I think in San Franciscan Ty Segall we have a musician here of Pollardian proportions, in other words, the dude’s prolific! Here, Segall is joined by pals Charlie Moothart and Rolan Cosio (Segall plays drums) and the word power trio comes to mind. Yes, the 8 songs on this FUZZ debut are heavy, real heavy. Initially I was reminded of Black Sabbath, who are an obvious influence, but you’ll also hear some love for Hendrix and, of course, the heaviest band ever (aside from Poison Idea) Blue Cheer.

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Much has been said on the prolificacy of the San Francisco Garage scene with particular attention drawn to 26 year old Fuzz leader Ty Segall. Since 2008, the Laguna Beach born Segall has lent his talent to no fewer than 11 albums and numerous other EPs, singles and compilations. Even by the productive standards of his peers, this is an impressive statistic.

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