FUZZ is Ty Segall (drums / vocals), Charlie Moothart (guitar / vocals) and Roland Cosio (bass). They're heavy rock lifers - three California bred dudes who have been refining their riffs and getting weird together since high school (which wasn't that long ago, actually). If you are not already aware of Segall, well, what's up? He's one of garage rock's most prolific sons. Moothart plays guitar in The Ty Segall Band and was also a member of The Moonhearts, which included Cosio on guitar. Way back in the early '00s, all three played in the Epsilons. Fuzz was formed a couple years ago as a collaboration between Segall and Moothart, but only recently did the pair have sufficient time to guide the band out of side-project limbo and into a recording studio. Straight off the bat they released two singles, "This Time I Got a Reason" (Trouble In Mind) and "Sleigh Ride" (In The Red). Around the time of the latter, Cosio joined on bass.
They are not dabblers or dilettantes. Fuzz flipped through used bins, hard drives and record collections of the world, seeking out the finest weirdo cuts. The band's self-titled debut LP, which was recorded by Chris Woodhouse (Thee Oh Sees, The Intelligence), dives deep, drawing inspiration from the more esoteric reaches of heavy metal pre-history. There are Sabbath and Hendrix nods, obviously, but on "Sleigh Bells" you might also catch a whiff of UK progressive blues business like The Groundhogs, particularly when the song quits its 10/4-time intro and reboots into fullbore choogle. Maybe you'll even glimpse the ghost of Australian guitar legend / sharpie guru Lobby Lloyde sniffing around "Raise." The mood is not light. The songs project a state of perpetual paranoia and eroding mental health. And as it should be, you know? This Autumn, Segall, Charles Moothart, and Chad Ubovich are back with their new LP 'II'. It's out October 23 via In The Red and going off the first two singles "Rat Race" and "Pollinate" is set to melt all minds, things are going to get wild!
FLESH WORLD began with Scott Moore (Limp Wrist) and Jess Scott (Brilliant Colors), in a microscopic lofted-bedroom in San Francisco's Panhandle district. Scott and Jess merged their respective musical histories of hardcore and pop, almost by accident. Without any mention of their previous bands, they bonded over the films of Kenneth Anger, the guitar work of Lou Reed and William Reid, the writing of Jean Genet, and the shirtless figures of David Hockney paintings. The pair slowly built songs in between hanging out at drag bars and punk shows, watching SF decay into some sort of inverted Detroit, isolated wealth which sent a lot of young artists running in the last couple of years. Flesh World is sort of what's left of that, where the only places to have fun are still leather bars, house music clubs, basement punk shows. After the music and vision of Scott and Jess began to coagulate they brought in Diane Anastasio also of Brilliant Colors to complete their basic and primitive sound.
TAMAN SHUD are a young band whose primary interests include paraphilia, vivisepulture, scaphism, Crom Cruach, Mokèlé-mbèmbé, cannibalism and the Marianas Trench. The band's heavy, gothic riff monsters are a wild, orgiastic release from day job existence, an inverted productivity chart over a blazing pyre as blunted melodies are swiftly pitchforked off the nearest cliff by the twin bass guitar assault of Tasha and deadpan Liverpudlian Derry. It's an unholy fusion of post-punk, no wave and psychedelic metal, like the Butthole Surfers of 'Sweat Loaf', the Sonic Youth of 'Death Valley 69' and the Chrome of 'TV As Eyes' being mugged by Les Rallizes Dénudés and bundled off to a Walpurgisnacht convention of satanic biker gangs. Or as the band themselves put it, somewhat more succinctly: "DNA meets Mainliner. Meets Red Stripe."
STEPHEN STEINBRINK is a 27 year old songwriter and recording engineer born and raised in the arid desert of Arizona and currently floating around the western USA, dividing his time between the green spaces around Olympia, Washington and the concrete flats of Oakland, California. Having spent the better part of a decade touring North America and Europe in buses, vans, and trains, his wanderlust travels shaped his stunning breakthrough album Arranged Waves, released last year on Melodic. Truly engaged with the unintelligible and absurd, Steinbrink is more cultural observer than 21st century busker with his intelligently cool left-of-centre approach to a sincere melody, using pop tropes to convey something deeper. At the same time, it's his lyrics that mark Steinbrink out as a true punk troubadour trying to how to figure out how to be a person in the world.
JULIE BYRNE has counted Buffalo, Pittsburgh, Pennsylvania, Northampton, Massachusetts, Chicago, Illinois, Seattle, New Orleans and New York as her home in recent years and spent the majority of the last two years on the road. It's these travels and new places that inspire and influence her most, giving us a glimpse inside her own quietly mystical world and her unique slant on the one the rest of us happen to inhabit. Her debut long player 'Rooms With Walls and Windows', released last year on Orindal is a true modern-day word of mouth success and was voted number 7 in Mojo's best albums of 2014. It's a stunning set of front porch psych-folk that unknowingly recalled the greats - Vasthi Bunyan, Linda Perhacs, Karen Dalton - but very much for our time. For all her otherworldliness, there is a realism too to Byrne, she is street smart and more punk in spirit than searching for the hippie ideal.
SLUSHY GUTS is the continually evolving idea of Stephen Keane, a one man endeavor, with additional members occasionally brought in and out for live performances. Slushy Guts exists by itself, slowly, quietly, spaciously, strangely skewed and scattered, the sound of stripped-bare tape deck bedroom recordings made in the gray dawn light. With guitars pitched somewhere between 90s post-rock forward thinking, fuzzed out pop and tradition balladeering, Slushy Guts sound is completely its own. Since 2009 Slushy Guts has self released a slew of limited tapes, cdrs and records, as well as a screenprinted book of Stephens artwork, which he has made under the name Chaos vs Cosmos since the early noughties . In 2015 Edils records digitally re-issued much of this. Edils will be releasing a best of cassette and a new Slushy Guts LP in early 2016.
A very special union of two bold and visionary performers from very different walks of song: Richard Dawson (Newcastle-Upon-Tyne, UK) and Asiq Nargile (Georgia) are bound together by the distinctive ways in which they channel the ancients to transcend the everyday. Dawson and Nargile met at last October's TUSK Festival in Newcastle, and the seeds were sown for a tour pairing these questing musical spirits for a select run of double-bill occasions across the UK.
RICHARD DAWSON is a skewed troubadour at once charming and abrasive, rising up from the bed of the River Tyne, his voice crumbles and soars being steeped in age-old balladry and finely-chiseled observations of the mundane. His shambolically virtuosic guitar playing stumbles from music-hall tune-smithery to spidery swatches of noise-colour, swathed in amp static and teetering on the edge of feedback. His songs are both chucklesome and tragic, rooted in a febrile imagination that references worlds held dear and worlds unknown. Latest album Nothing Important, out now on Weird World/Domino, has seen Dawson's song visions seep, uncompromised and irrepressible, into wider consciousness, confirming him as an unparalleled voice in today’s over-preened and manufactured music world.
ASIQ NARGILE aka Nargile Mehtiyeva was born in Tbilisi and is now based in the Borcali region of Southern Georgia, she has been playing saz (long-neck lute) and singing since the age of 15. Fluent in Azerbaijani, Georgian, and Russian, Nargile represents the cosmopolitan heritage of old Tbilisi, a city once known as a meeting point for multilingual aşıq bards who would travel through the region serving as conduits for news, ideas, music and culture. A powerful solo performer, her vocal recital of epic folk poetry is by turns ecstatic and deeply expressive, and is interspersed with bursts of virtuosic, highly ornamented saz. Equally comfortable performing moving laments or upbeat folk dances, Nargile is currently the only female aşıq living and performing in the ethnic Azeri region of Georgia, and has been teaching the art to new generations. Thanks to the efforts of The Sayat Nova Project, a non-profit group aiming to help preserve and promote the diverse musical dialects of the Caucasus, European audiences can now experience the elusive, hypnotic beauty of Nargile's music for themselves.