She posted a fuzzed-out glowing video of herself on her Twitter.
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It's a sensory overload that matches the song's fuzzed-out, mechanized intensity.
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They fuzzed out, pleasantly, became vague enough that he could love them.
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At first, Smith, who's fuzzed and scuzzed for the role, seems miscast.
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The production is crisp and clean even when melodies are plodding and guitars fuzzed.
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All dialogue audio is scrambled and rendered unintelligible, complementing the fuzzed-out, grainy environment.
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Ultimately, Wizard Bloody Wizard is an opium-laced, fuzzed-out homage to all that is dreadful.
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Was her airing of Mudhoney's fuzzed-out 1988 singalong "Touch Me, I'm Sick" in poor taste?
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Deland's lonesome sounding vocals skim over fuzzed out, slow drum beats anchored by a steady guitar line.
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But she is also too ambitious to languish in the fuzzed-out, D.I.Y. world of bedroom pop.
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I delve in and quickly manage to glitch out the Furby into a fuzzed-out string of stutters.
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As they hang from train straps and dance on railway platforms, the video seizes that fuzzed night to morning transition.
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New York band Honduras released a new EP today called Gathering Rust, a sticky collection of fuzzed out indie rock.
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Buzz Osborne's guitars aren't as fuzzed out as they usually are here, but the main riff hits with blunt force regardless.
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There are orchestral moments of just doubled piano and violin, but there are also moments that are fuzzed out and screamy.
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I like this a lot, and if you dig chilly, lo-fi, charmingly fuzzed-out black metal scrapings, you will too.
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Fuzzed out guitar fills pierce Lennon's sleepy intro, before he gets some help from his bandmates with doo wop-y harmonies.
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"You want it, right?" she asks on the chorus, as thumb pianos flicker and a fuzzed-out synth bass hovers below.
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Brooklyn's premier fuzzed-out doom band Blackout is back with The Horse, their second release on Riding Easy Records (out June 23).
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"Mouth moving non-stop with not a lot to say," sings Jiwani before a fuzzed-out guitar lead erupts from the mix.
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On their excellent debut Feast of Love, Drake's quiet vocals pushed through fuzzed out guitars and emo tropes of heartache and longing.
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A distorted Italo-disco bass line kicks things off, before screeching noise, fuzzed-out vocals, and an aggressive post-punk beat kick in.
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Or perhaps Twitter's leadership is still so drunk on its own philosophical koolaid it really has fuzzed the lines between fascism and, er, humanity.
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Premiering below, "Shades" kicks off with canned beats like The Kills and a fuzzed up bass line combined with reverbed, flashes of electric guitar.
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I liked the idea of a really sweet love song with blaring fuzzed guitars and a well placed 'fuck' that required a radio edit.
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It's linked, naturally, to the fuzzed-out rock songs that he made with LVL UP, but also with their own compositional contortions folded in.
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Sometimes it meant a chiffon evening gown embroidered in tiny sequined flowers or rhinestone geometries, the whole fuzzed out by a monastic overlay of net.
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You can get free tickets for train rides at booths, and in state capitals you can get info about which cities have fuzzed people in them.
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The guitars are fuzzed to the high heavens, playing a complicated stoner-rock riff that's given more grit thanks to a typically lo-fi UMO recording.
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In 2016, they released their debut album, Peach, a thoroughly impressive showing of grimey yet infectious fuzzed-out rock, and things took off pretty quickly for them.
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It's a fuzzed-out, crunchy song that will inspire you to just say, "Fuck it, I'm doing this" because do you really have anything left to lose?
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Phibes is the mad scientist who mixes such influences as EC comics, Roky Erickson, spook shows, and Johnny Thunders, into a fuzzed out, trashy, psych punk brew.
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Vignettes about global warming and digging through trash meet a fuzzed-out, grungy chorus that feels blissful even as it snarls, flexing the group's newfound musical muscles.
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Twitter notes that none of this was "precise" location data, because the data was already "fuzzed" to be only a ZIP code or city (5 km squared).
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His fourth album Sound & Fury is his most daring departure yet, one that can easily turn from overdriven and fuzzed-out rock to surprisingly danceable synth-funk.
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Floridian stoner-sludge trio Shroud Eater are back for another fuzzed-out ride through the deep-south heavy metal swamps with their latest full-length, Strike the Sun.
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In the California trio's five years as an active concern, they made warm, fuzzed-out sounds that hit home like a tight, melancholic embrace from your favorite person.
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It was the second night of the Dusk Till Dawn music festival in downtown Los Angeles, and the fuzzed-out drone of Moon Duo was washing over the crowd.
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By that point I was doing perfectly fine being a total square and I wasn't going to let the pentatonic scale and fuzzed-up power chords catch me slipping.
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It's eminently listenable, eerie and fun, with rollicking bass lines and fuzzed-out screeches, the kind of thing that refuses to fade into the background like many scores do.
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It's in the faintly echoed tone of his guitar, overlaid with that fuzzed up other guitar line, the skippy drum beat and the mellow, mellow magic of his voice.
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You have to figure out where it is currently, go there, and not touch any of the fuzzed people until you get to it or they'll deplete your crystal supply.
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The form of the song is simple and its sound overdriven: a fuzzed-out electric piano bangs out quarter-note chords through the whole thing, in sync with the guitars.
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The Klein's experience entails watching a fuzzed-out soccer game on its old TV while dining on mole poblano and corned beef sandwiches until the lights are turned out at midnight.
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Sometimes, Pence "fuzzed up" (in Kaine's terms) some of Trump's more specific promises — we have somehow gone two debates without anyone promising to build a wall and make Mexico pay for it.
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"Getting Better" (Take 21) The maiden voyage of "Getting Better" sounds significantly heavier than the finished product, with McCartney out front with a Wurlitzer keyboard, and fuzzed out bass thundering across the verses.
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But across the ocean, America became seized by grunge's fuzzed-out rage, and when that sound bounced back to Britain, one logical progression was shoegaze — heavenly clouds of distortion under soft, androgynous vocals.
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There are in fact thousands of distinct bee species flying around us all the time — small as gnats or larger than horseflies, fuzzed in hair as orange as Cheddar or armored in metallic green.
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Musically "Get My Bang" is a mimimalist affair for the English chaps—sparse drums, angrily fuzzed synths, and of course the dancing, duelling vocals of Thorpe's fluttering register and Tom Fleming's earthy baritone refrain.
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Merging elements of punk, post-hardcore, and college rock, the title track is impossibly catchy (and deceptively morbid) and proudly carries on the tradition of fuzzed-out, feedback-fueled acts like Dinosaur Jr. and Sugar.
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On its seven albums, including the 2016 release "Stiff," White Denim has delivered a heady blend of fuzzed-out soul, hip-swiveling funk, far-out psychedelia, classic British Invasion-era rock 'n' roll and more.
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It's fuzzed up, 90s-indebted indie rock that'll make you wanna mosh and destroy stuff and do shots and headbang and run real fast and ride your bike with your hands nowhere near the handlebars.
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Overall, the EP possesses a balmy sound that shimmers with the fuzzed-out distortion of a late-summer heat haze—where "Float" and "Daylight" linger in the air, "Generate" and "Waking Dream" balance out with grounding bass.
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While she layered pitches from her vocalizations into gleaming choral refrains, deeper bass tones created various forms of tension — sometimes shaping clear pools of harmony, at other points sounding fuzzed-out or approaching states of feedback noise.
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They've got that creepy, not-quite-human vibe that bands like Mortuary Drape and Negative Plane harness so effectively, but slow it all down to a staid pace—think a de-fuzzed but just as eerie Saturnalia Temple.
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The duo saw the trailer for Vinyl and wrote "Where Are You Now," a swaggery, stompy cut anchored in fuzzed up, muscular riffs destined to find favor with fans of Iggy Pop and Queens of the Stone Age alike.
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Hearing a song like "Machitikos" in a room full of people headbanging in unison was nothing short of magical, and the moments of listening, eyes closed, as fuzzed out shrieks punctuated the trudging "Inscriptus" were ones I would gladly relive daily.
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This May, all four bands will be combining forces and hitting the road together throughout the US. Fuzzed out post-rockers Teenage Wrist will be joining on the East Coast stretch and Florida rippers Gouge Away will pick up the remaining dates.
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One listen to the previously-released single "Night Skiing," a sub-five minute psych-freakout anchored by a chugging bassline and shredding, fuzzed out lead guitar harmonies, and it's clear these musicians are locked into making Olson's madcap vision come to life.
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Whereas the first taste of High Bias, released on Drag City, came with the skittering and boldly dense guitars of "Fever", the latest offering is pure fuzzed out lo-fi power pop complete with sides of acoustic guitar and "bop, bop, bops".
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It is confidence that lets this French-looking bistro with its much-put-upon marble bar and fuzzed-up mirrors play Yo La Tengo one night and Whitney Houston's greatest hits on another and still believe that somehow it will all mean something.
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Carlos Morera and Max Martin, the proprietors of the Los Angeles-based Cactus Store , were arranging their wares—which included squat and bulbous specimens, abloom with pink flowers; furrowed Yoda-like varieties, fuzzed with chalky bristles; and tall columns with menacing spikes.
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From the fuzzed up, louche psych of album opener "Drifting Caterpillar," to the string-draped, soaring prog-pop of "Are You Stars Out" to the Steely Dan organ grooves of "Take My Time," Dark Arts is a record to sink, track by consecutive track.
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Even when he doesn't operate in Nine Inch Nails' death-disco, his characteristically unnerving melodies and go-to arrangement choices (detuned pianos, fuzzed-out guitars, white noise touches) are everywhere in his work, especially his soundtrack collaborations with Atticus Ross for David Fincher's films.
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The band's unapologetic electronic noise, bizarre samples, and fuzzed out low-end bass ran counter the label's previous four-to-the-floor aesthetic, and it's a wonder that a classic electro-noise punk album got made in the West Village without having the cops repeatedly called.
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Their history exhaustively and lovingly detailed in Jesse Jarnow's essential 2011 book Big Day Coming, Yo La Tengo jumped from bouncy, fuzzed-out indie rock to understated covers-laden folk rock to subdued and brooding indie pop to so many genre-experiments and adventures in between.
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The jazzy chromatic chords and slinky bass lines of Stevie Wonder's 1970s solo masterpieces infuse the Internet's music, along with the bedroom whispers of Janet Jackson and Prince, the smooth funk of the Commodores and Earth, Wind & Fire, and the phased, fuzzed guitar tones of Ernie Isley.
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Mr. Moore rouses up a rabble of voices in the backing chorus ("Come on, get it together/Come up to the front/Come up from the back/Funk, funk, funk"), and tees things up for the coup de grâce: Vernon Reid's snaky, fuzzed-out guitar solo.
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This is a straight-ahead reggae record except for two tracks: "Drums for Wise Man," and "Chanting Higher Heights," the drums augmented by fuzzed, needling electric-guitar soloing that sounds like the kind of thing Michael Karoli of the German experimental group Can would have done were he invited.
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Like all of their albums, Lytle's songs carefully balance the beautiful with the bizarre, returning to the band's endearing signatures—the quirky electronic squibs, the chunky, fuzzed out power chords, the wistful piano riffs, and a plethora of hooks delivered by Lytle's unmistakably vulnerable falsetto—that thrive with a newfound blitheness that came from a pressure-free environment back home in Modesto.
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Wet Leather shot by Lindsay Keys There's something about the fuzzed up pulse of the verse from "Yours & Mine" that reminds us of "Atlas" by Battles—which is a good thing—but the chorus segues this tune into something that's infinitely less weird and way more pop, a little new wave, a little early-2000s punk funk, a little indie disco-dance floor-tastic.
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Album opener "Burn the Witch" bears a striking resemblance to the space age strut of OK Computer, but this is achieved not with electric guitars, but through a section of violins playing spiccato and col legno—techniques where different parts of the bow are bounced off the strings instead of run across them—creating the effect of strummed guitars over the fuzzed out bass notes and electronic drums that comprise the rhythm section.
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Advertise on Hyperallergic with Nectar Ads Where the system map's metal edge abuts a fuzzed pink scalp, an inchworm doubles back, polite but unrepentant in sounding the pent-up space–hides half itself like an em dash scrunching to a solemn hyphen, or a gymnast, all arm between invisible rings, or a pawn condemned to the same two moves, creative though short-lived, or the steely tip on the tuning fork of a sonometer, twitching, poised to decipher the immiserated quiet that descends (for some more than others) when we hit the Transbay Tube, jolted closer together, heads worlds away.
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Cities are de-fuzzed by dropping crystals in the path of fuzzed people, turning them back into civilians. Some civilians will also be carrying crystals (the info map shows how many crystals are present in a city). Civilians are turned into fuzzed people when touched by a fuzzed person. If Agent USA is touched by a fuzzed person, it will drop the player's crystal inventory by half, rounded up.
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Modern web browsers undergo extensive fuzzing. The Chromium code of Google Chrome is continuously fuzzed by the Chrome Security Team with 15,000 cores. For Microsoft Edge and Internet Explorer, Microsoft performed fuzzed testing with 670 machine-years during product development, generating more than 400 billion DOM manipulations from 1 billion HTML files.
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Modern web browsers undergo extensive fuzzing to uncover vulnerabilities. The Chromium code of Google Chrome is continuously fuzzed by the Chrome Security Team with 15,000 cores. For Microsoft Edge and Internet Explorer, Microsoft performed fuzzed testing with 670 machine-years during product development, generating more than 400 billion DOM manipulations from 1 billion HTML files.
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If touched while carrying none, Agent USA turns into an uncontrollable fuzzed person who will wander around aimlessly and board trains to different cities until he touches a crystal. Fuzzed people may also enter from a nearby contaminated city via train. The ultimate object is to acquire 100 crystals, mainly by growing them from dropping them on the ground and having them multiply, and enter the city with the Fuzzbomb. Agent USA then has to avoid all fuzzed people in the town the Fuzzbomb occupies, and then touch the Fuzzbomb to win the game.
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While touring for We Have You Surrounded, Ko Melina stopped playing her parts on a "fuzzed" bass and instead started playing a baritone guitar.
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Towkio's musical style has been described by Chicago Tribune as "an adventurous mix of rap, '90s soul, jazz and generally weird, fuzzed-out beats." He cited Kanye West and Lil Wayne as his biggest influences.
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In 2013 the Austin Chronicle described the band's live performances as "drowning in a haze of guitar and reverb that can drift through cosmically shifting layers of aggressive punk riffs, fuzzed noise, and scalding jams".
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A giant mutated television set known as the "Fuzzbomb" has begun infecting cities across America and turning people into walking balls of TV static. The player controls a secret agent assigned to defeat the Fuzzbomb and rescue fuzzed people.
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The group's sound is as much influenced by heavy metal acts such as Electric Wizard and Black Sabbath as it is by other Providence noise bands. The band's sound is driven by haphazard, non-traditional drumming and ultra-low, detuned, fuzzed guitar and bass.
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"Rocket" is a rock song. Being more melodic than Siamese Dream single "Cherub Rock" and the band's Gish-era work in the vein of the track, it was described as a "standard Pumpkins fuzzed-out heavy blissness." The song also features a repetitive guitar line pulsing through, creating a wall of sound effect.
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Intronaut's sound is influenced by a wide variety of genres, with songs frequently transitioning from heavy distorted portions into ambient jazz- infused soundscapes. The guitar work is based around distorted and sometimes fuzzed tones. Guitar parts include anything from driving head-banging riffs to dissonant ones. Various metal genres are represented in Intronaut's songs.
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"Wear My Kiss" is an uptempo pop song. David Balls of Digital Spy described it "a fuzzed-up pop thumper". The song is composed of "thick" beats, "sexy" verses and "raunchy" lyrics. The chorus features a chanted 'da-da-da' hook, which according to Al Fox of BBC Music is evocative of the group's 2003 single "Hole in the Head".
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"On Somebody" was released on December 30, 2019, prior to Max's performance on Dick Clark's New Year's Rockin' Eve the next day. The song was written by Max, Lisa Scinta, Nate Cyphert, and producers Cirkut and Jason Evigan. It is an electropop song, with lyrics describing a person struggling to move on from a failed relationship. The production included a harpsichord, alongside fuzzed- out vocal treatment.
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Acrimony have maintained a cult following in the British metal scene, their records reportedly selling for vast sums as collectors items. AllMusic described their musical style as a "powerful blend of Black Sabbath’s heavy metal riffery, Hawkwind's space rock excursions, and Blue Cheer's fuzzed-out psychedelic feedback." In 2019, Kerrang! listed Acrimony as part of "20 bands who didn't get the respect they deserved".
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While touring at the Times Union Center, Albany, New York, Clarkson performed the song with a musical arrangement. Grey Haymes of Times Union remarked that the song was "re-made and re-modeled with a throbbing, fuzzed-out bassline and an irresistible techno pulse as the foundation for her hook-filled pop song." He also added that it was one of the several surprises from the concert.
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Gigantoid is the eleventh album by the southern California stoner rock band Fu Manchu. It was released on April 29, 2014 on At The Dojo Records. The album features "a slightly more primitive, raw and ultra fuzzed-out sound" than previous releases. Initially released as a 2013 split seven-inch single with psych-metal trio Moab, "Robotic Invasion" appears as a bonus track on the digital version of Gigantoid.
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Crazy for You received a nod from Exclaim! as their No. 6 pick for Top Pop & Rock Albums of 2010. Ian Gormely said "fuzzed out lo-fi recordings are all the rage, but Bethany Cosentino rises above her peers on her Best Coast debut, striking the perfect balance between reverb-drenched vocals and classic California pop hooks." The album was also named the 39th best album of 2010 by Pitchfork.
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Marisa Brown of AllMusic gave the album 4 stars out of 5, saying, "as a fun, informative celebration of Koala's decade of work, it's absolutely great." Brian Hull of Okayplayer said, "Your Mom's Favorite DJ is laden with blues, fuzzed out guitars, Dixieland, and more sampled dialogue than most records can boast in lyrics." David Downs of East Bay Express listed it on his "Best Records of 2006" list.
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While performing the fuzzing, a hang can be detected when the process does not exit within the specified timeout and crash is assumed when a signal handler kills the process. The fuzzed input can be fed to the tested program either via standard input or as an input file specified in the process command line. Fuzzing networked programs is currently not directly supported, although in some cases there are feasible solutions to this problem.
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"Quasar" received mostly positive reviews. Joseph Viney of Sputnikmusic described the song as "a rambunctious, wailing beast of a song with a number of different speeds and moods." Rick Florino of Artistdirect praised the song, declaring that it is "one of the band's heaviest and most hypnotic gems ever." He also eulogized drumming parts of Mike Byrne, Nicole Fiorentino's basslines and Jeff Schroeder's fuzzed-out guitar work, along with Billy Corgan's vocal style.
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This track mixes punky fuzzed-up guitars with cutesy love song lyrics and fat synths. The keyboard explosion sounds in the bridge are a delight to hear, especially with headphones on." Sekiden's second EP, Love Songs for Robots (June 2001) with six tracks, was launched at The Healer, where Joanne Bell of BrisPop.com observed, "their sound was chock-full of implausibly crunchy guitar, fuzzy synth, odd machine noises, and elaborate but inobtrusive drumwork.
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As of late, DC has been home to a growing scene of musicians who take inspiration from the primal stomp of the 1960s garage rock movement. Eschewing the more esoteric stylings of their art-school peers, bands like Soul Lip, the Hall Monitors, the breakUps, the Have Mercys, the Points, Shark Week, The Fed, and Fellowcraft mine a more primitive vein of rock 'n' roll, finding inspiration in fuzzed-out chords and grooves.
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At the reunion he noted Shaw's drumming was "fluid and driving", Mathews played "his bass like he was oiling a bat", while Mariani and Lane showcased their "fuzzed-out appliances and Beach Boys bah bah bahs". In 2002 Off the Hip Records issued The Great Stems Hoax – A Tribute to The Stems, which had 19 cover versions of Stems songs performed by various artists.Holmgren, The Great Stems Hoax entry. Retrieved 21 July 2013.
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Other singles, however, were, including their biggest seller, "Train Kept A'Rollin'". The Rough Guide Music USA indicates the band is best known for their rendition of this song. In Billy Poore's Rockabilly: A Forty- Year Journey, he describes the single "Train Kept A'Rollin'", backed with "Honey Hush", as "two of the best all-time rockabilly cuts ever", "what pure, scorching, unrestrained rockabilly music should sound like". Among its notable features, "Train Kept A'Rollin'" displayed a ground-breaking fuzzed guitar.
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Neil Young playing his guitar"Angry World" was the first track to be released from Le Noise. The song, like the rest of the album, was recorded in the Los Angeles home of producer Daniel Lanois. Unaccompanied by other musicians, Young's vocals, described as "howl[ing] venom", are mixed high above his guitar. There is a "buzz and crackle" to his "fuzzed-out" electric guitar and a loop of the word 'angry' as background noise throughout the song.
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Atlantis Records described the 1999 re- release as "sought after 60's American Psych/Electronic rock classic from United States of America mainman Joseph Byrd". Gatefold Records offered "Welcome re-issue of the 1969 followup to the United States of America album (Joe Byrd was the leader of that group). Trippy Moog and electronics noodling mixed with stunning bursts of fuzzed out guitars and acid-damaged lyrics". The CD was reissued by the UK label Acadia in 2007.
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The album's opening track, "Dig My Grave", has been described by Parry Gettelman of the Orlando Sentinel as "an angry, fuzzed-out rocker". The vocals for the track were recorded through a guitar fuzz box in order to distort them. The circular "I Palindrome I" features a word-by-word palindrome in one of its verses: "'Son, I am able', she said, 'though you scare me.' 'Watch', said I. 'Beloved", I said, 'watch me scare you, though.
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Time zones change depending on what area of the country Agent USA is in. State capitals will also have an info booth which shows a map of the US along with fuzzed cities and the location of the Fuzzbomb (which moves around the country). The location of the Fuzzbomb can only be learned from stations at State capitals, so learning the capital city of each State is useful. The player begins the game with 10 crystals.
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It features a Grand Funk Railroad-inspired introduction with a powerful bass guitar riff delivered by Evgeny Kazantsev accompanied by a set of fuzzed guitar riffs played by Puzyryov, who played both rhythm and lead guitars on this track. It is notable that the music pattern of the song, arranged in hard rock, was fully written by Puzyryov. Most tracks of the song were recorded in April 1973. Качели is a psychedelic rock track featuring complex vocal harmonies with Alyoshin on lead vocals.
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Sho Is Funky Down Here is the 31st studio album by American musician James Brown, released in 1971 on King Records, his last album on the label after having been on the label since 1956. It was #26 on the Billboard R&B; Albums chart and #137 on The Billboard 200 in 1971. It's a very atypical album for James Brown. All instrumental and full of heavy fuzzed-out guitars in a jazzy psychedelic rock style, resembling the first records by Funkadelic.
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It was written when Tucker was preparing for an interview about the subject, held by the EMP Museum in Olympia, Washington. The song also alludes to the misogyny that took place at the Woodstock '99 music festival, where several women were raped. Similarly, the song "Was It a Lie?" is a protest against how violence is used as entertainment in the media. "The Professional" aims at music journalism and contains heavy drum work, while "Ironclad" features "fuzzed-out riffs and pounding fills".
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At 150 beats per minute, the song is one of the fastest the band have recorded. Rolling Stone called it a "blazing, fuzzed-out rocker that picks up where 'Vertigo' left off." Thematically, the song is about Bono taking his family on vacation to France and witnessing warplanes flying overhead at the start of the Iraq War. The chant "let me in the sound" was developed late in the recording sessions and became a motif throughout parts of the album.
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AFL's logo from fuzzed input stitched together as a single animation. The fuzzing engine of american fuzzy lop uses several algorithms whose goal is to trigger unexpected behavior, including bit flips or replacing bytes of input file with various integers that can trigger edge cases. Apart from that, it can generate test cases based on sample keywords, which helps during fuzzing of programs that employed text- based grammar, such as SQLite. Generated test cases that exercise different parts of the program's code can later be used as input for more specialized diagnostic programs.
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"In My Arms" garnered positive reviews from music critics. Tom Ewing in a review for Pitchfork compared the song to French electronic music duo Justice and wrote that Minogue "bounces around the tune with gusto". Prefix Magazine reviewer Bruce Scott described it as "fuzzed-out" and "synth heavy", and wrote that it was "full of the kind of exuberant charm that made a track like 'Love at First Sight' a past hit". According to Evan Sawdey from PopMatters, the song is "a track that absolutely demands your attention".
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Little Broken Hearts follows from experimental chamber serenades to stark, electronic- embellished confessions. As Burton mentioned in his interview with Rolling Stone, this album is very different from anything Jones has ever done before. Rolling Stone writer Matt Diehl pointed the track "Take It Back" as Jones' boldest departure, which features fuzzed-out guitars and spooky, distorted vocals. On "4 Broken Hearts", he compared her to Dusty Springfield while confronting a mutual infidelity and, in the end, found a similarity between this record and Marvin Gaye's album Here, My Dear.
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Craig S. Semon of the Telegram & Gazette stated "the naughty seducer" to be one of Jackson's "most exciting tracks." Jon Pareles of The New York Times observed the song to open with a "screaming guitar and a chanted verse, rising to a sweet melody." Kot from Chicago Tribune wrote, "There's a surprising, fuzzed-up guitar riff lifted from Peter Gabriel's 'Sledgehammer' that gives 'If' some punch." BBC Radio 3's commended it as an "impressive industrial fury" based on "oral satisfaction", also called "a weird masterpiece" by Vibe.
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In 2017, BuzzFeed listed the song at number 37 in their list of "The 101 Greatest Dance Songs Of the '90s". Tracey Pepper from Entertainment Weekly noted that the song "erupts with a blast of fuzzed-out power chords, driving dance rhythms, and a rallying sing-along chorus." Music & Media wrote that "techno meets rock guitar with strident vocals from singer Saffron, all adding up to a fresh, gritty pop sound which Europe simply can't afford to miss." Dave Fawbert from ShortList called it "a bloody good tune".
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I Don't Run features jangling guitar and the interplay of dual vocalists Ana Perrote and Carlotta Cosials, with critics making musical comparisons to The Strokes, The Velvet Underground, The Breeders, Beach House, and The Libertines. The album includes both upbeat and relaxed songs, employing vocal harmonies, chants, guitar riffs, and fuzzed vocals. Lyrically, the album deals with more mature themes than Leave Me Alone, including the unglamorous realities of awkward romantic situations, infidelity, long-distance romance, and the loneliness of touring. The album includes lyrics in both English and Spanish.
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Dentist is an alternative surf rock trio from Asbury Park, New Jersey, that formed in 2013. The band is composed of vocalist and bassist Emily Bornemann, guitarist Justin Bornemann, and drummer Matt Hockenjos. E. Bornemann and J. Bornemann previously played together in the Asbury Park indie rock group, No Wine for Kittens. Their music is described as the "combine[d] freedom of the beach atmosphere and the urgency of the city into a fuzzed out, surf punk-tinged brand of indie pop with hooks and infectious melodies," they draw comparison to the music of Best Coast, Wavves and the Drums.
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AllMusic reviewer Donald A. Guarisco said, "What might seem like a tongue-in-cheek pop tune (on paper) becomes a thumping fusion of new wave and hard rock in the studio to the one-two punch of a clever arrangement and a slick production job by Roy Thomas Baker. . . . [It] starts with a throbbing drumbeat and fuzzed-out guitar riffs that give it a hard rock punch but quickly adds waves of ethereal synthesizer and an arch vocal from Ric Ocasek that lend it a new wave edginess." The song was called a "wonderful pop song" by Kit Rachlis of Rolling Stone.
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Skullflower is a British noise rock band, formed in 1987 in London, England. Led by guitarist Matthew Bower, the band attained a cult following with a sound based on "sludgy, Black Sabbath-style riffs overlaid with feedback, fuzzed-out guitar noise, and throttling rhythms, all played at a high volume." Always an improvisational outfit, the band's music grew increasingly free-form over the course of their career, moving farther away from the rock music form. The band's lineup has been fluid; the early core members were Bower, drummer/vocalist Stuart Dennison and bassist/guitarist Stefan Jaworzyn.
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Seguing between the end of "Get Out of Your Own Way" and the beginning of "American Soul" is a spoken word segment by rapper Kendrick Lamar; playing what Bono called a "cracked preacher", Lamar gives an ironic take on the Beatitudes. Lamar previously sampled "American Soul" for his song "XXX". "American Soul" is Bono's letter to America; over "fuzzed-out guitar riffs", he takes a supportive stance on immigration and refugees while "calling the US... to account for its lapses in idealism". "Summer of Love", featuring Lady Gaga on backing vocals, was described as a "slinky Zombies pastiche" by The Boston Globe.
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The album largely abandons the stark, club-based sound of Latham's debut in favor of a warmer sonic palette characterized by "fuzzed-out beats and washes of reverb-drenched and processed guitar." Latham has described the sound as "not a total break from the world of Classical Curves, but rather an inversion," explaining that "Classical Curves is the surface, Dream a Garden is the exhaustion, frustration, anger, and dizziness underneath. Describing the development of Latham's sound for Clash Music, Will Salmon wrote that "this is still angular, defiantly awkward music, but the diamond-hard production has been replaced with something woozier and stranger.
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Her debut extended play (EP), Sponge will be released on June 30 from Innit Recordings. It was composed entirely by singer-songwriter and producer James Levy, mixed at The Rumpus Room and mastered by Joe LaPorta at Sterling Sound. The lead single, "These Days" was positively received by critics as a "timeless piece of pop perfect" while also pointing out the "60s-inspired vibe and Price's fuzzed out vocals add to the track's winsome, retro feel". The second single, title track "Sponge", was also positively received by critics as a "tune resplendent in beats to march to and Lane Price's honeyed tones layered and lightly reverbed".
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The soundtrack contains a mix of classic rock, alternative rock, indie, garage and post-punk. Sex Bob-Omb's sound is that of a sloppy garage rock group, and Matt Burdick describes Webber's vocals as lead singer Stephen Stills to be "yelpy". The first song of the film and soundtrack is Sex Bob-Omb's title song, "We Are Sex Bob-Omb", which plays over the opening titles and is described as a "fuzzed-up, sloppy rocker" by Todd Martens of the Los Angeles Times and "raw, down and dirty" by The Playlists Rodrigo Perez. The BBC's Mike Diver writes that the song "roars and swaggers".
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In contrast, according to Peter Nelson of Pulp fanzine, Crime & the City Solution, used "An exciting blend of fuzzed monotone guitar runs and squawking saxophone riffs . . . [like] the drone songs on Wire's Pink Flag". In late 1978 Bonney and McLennan had relocated to Melbourne where they formed a new version of Crime & the City Solution with Chris Astley on keyboards, Kim Beissel on saxophone, Lindsay O'Meara on bass guitar (ex-Voigt/465) and Dan Wallace-Crabbe on guitar. In Melbourne Bonney became friends with local post-punk group, The Boys Next Door (later known as The Birthday Party). Crime & the City Solution broke up in 1979 after a number of live shows and recording an unreleased demo.
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While waiting for Josh to graduate, the band continued to play sporadic dates around Murfreesboro and Nashville, with Mac Burrus now playing a Fender Rhodes. Mac eventually left the band, accepting an offer to play bass for Matt Mahaffey's band, Self. With Josh now living in Murfreesboro, the band's sound grew—and changed—as a power trio. With Jason's sugary-sweet, instantly memorable hooks, Gary's fuzzed-out bass and distinctive harmonies, and Josh's ferocious drumming, the band began writing their own brand of radio-friendly, melodic power pop-influenced as much by classic rock bands like the Beatles, Led Zeppelin, and The Heartbreakers—as they were by more contemporary bands like The Pixies and Supergrass.
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Drone-heavy, fuzzed out debut LP Done, produced by Iain Burgess (Naked Raygun, Ministry, Big Black), was released in Germany in 1992 before the band gained a recording and distribution deal with US Independent label Matador Records in 1994, having been championed by Yo La Tengo. The self-produced six song EP Crayon followed in 1994. In 1995, 18th Dye moved to Danish label Cloudland Records and recorded their second album, Tribute to a Bus, recorded by Steve Albini at Black Box Recording Studio in Noyant-La-Gravoyère, France. More dynamic and diverse than previous recordings, its blend of noise and melody suggest influences such as Sonic Youth, The Wedding Present and Wire.
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On 15 July, Rolling Stone magazine said that with the release of "Push That Knot Away", "the Scottish songstress ditches coffee-shop- flavored folk for a big dose of booming beats, electro textures and fuzzed-out bass", stating that "it's nice to hear Tunstall stepping out of her comfort zone: "Push That Knot Away" is a rousing, foot-stomping anthem". However, they think that, lyrically, "Tunstall is still mired in confessional singer- songwriter clichés that are better suited for a therapist's office." The Scotsman review says that "There is a certain pagan freedom cantering through "Push That Knot Away"." while Virgin says that "she belts and growls with real conviction" with the song. The website Ultimate Guitar said that "Push That Knot Away" veers into inspirational territory.
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"Tunnel Vision" is a mid-tempo R&B; song with an EDM influence. Billboard's Jason Lipshutz noted that it has an instrumentation that features "fizzing beats abetted by the producer's [Timbaland] signature ad-libs and vocal record-scratches", while according to Sobhi Youssef of Sputnikmusic the song is built on "still-existing chops with a drum heavy, syncopated backbone amidst frenetically shifting bass melodies, sweeping orchestrations, and vacuous synths that all coalesce into a fuzzed out boom- bap." Ryan Dombal of Pitchfork Media called the synthesizer "sinister" and, according to Slant Magazine's Eric Henderson, it has Middle Eastern tones. Joey Guerra of the Houston Chronicle called the beats and vocal loops on "Tunnel Vision" reminiscent of Timbaland's past work with the late American singer Aaliyah.
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O.D.", Billy Thorpe & the Aztecs' "Most People I Know" and Buffalo's "Sunrise"; and three originals. They followed with two studio albums on Arschlock/Shagpile distributed by Shock Records, Self Totalled (1995) and Oh What a Lovely Pie (August 1997), which appeared on Amphetamine in America. For Self Totalled the band's members were given pseudonyms: "Fess Parker" on guitar, "Slapper Jackson" on bass guitar and lead vocals, and "Billy Arschlock" on drums and vocals; while their producer, Lindsay Gravina, was "Big Vinny" Gravina. Kennedy described the work as "[p]erhaps the band's most full-realized album, Self-Totaled doesn't deviate from the band's formula of hard driving rhythms, fuzzed out guitars, humorously sneering vocals, and true-to-the-bone working man's attitude.
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Known for their droning, fuzzed-out bass and wah-wah guitar with repetitive lyrics, the Cosmic Psychos have a simple sound that has remained relatively unchanged since they formed in 1982. The Cosmic Psychos had a significant influence on the Seattle Sound during the 1990s, and were seen as some of the pioneers of grunge. Known for their hard drinking behaviour and vulgar lyrics, the Cosmic Psychos are one of the defining bands of the yob rock genre, a movement that celebrates the Australian male lifestyle; yob rock contemporaries include The Onyas and The Vee Bees. Their fans include Buzz Osborne from the Melvins, Donita Sparks from L7, Lindsay McDougall from Frenzal Rhomb and Kurt Cobain from Seattle band Nirvana.
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Blue Skied An' Clear is a two-disc compilation, featuring various artists from Morr Music covering songs from the shoegazer band Slowdive on the first disc and composing songs "inspired" by Slowdive on the second disc. It was released in 2002 by Morr Music, and was the label's 30th release. In addition to serving as a showcase of the Morr Music roster, this release serves as a testament to the resurgence or revival of the shoegazing sound in this particular realm of electronica or IDM. Whereas the initial wave of shoegazer rock had fuzzed out guitars (via distortion from effects pedals) as a central characteristic, the artists on this release combine that with (or abandon it for) glitchy beats, synth tones, and digital signal processing effects.
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In the liner notes of the reissued Superfuzz Bigmuff, Jay Hinman wrote: > My feeling—and I know I'm not alone in this one—is that for all the play and > worldwide attention several Seattle-area bands got during the 1988–92 > period, at the end of the day (and even at the time), there was Mudhoney—and > then there was everybody else. To me, you, and everyone else paying close > attention to underground rock music during those years, Mudhoney still sound > like the undisputed kingpins of roaring, surging, fuzzed-out, punk music. In 2009, Mudhoney announced a series of live dates. This included an extensive tour of Europe which started in Edinburgh, Scotland with Sub Pop label mates The Vaselines.
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" Spins Harley Brown called it "the purest — and most complex — distillation of everything that makes the band such a nearly physical pleasure to listen to". Brown added, "The real magic of Currents, though, is in how Parker so effectively (and genuinely, for the most part) manipulates the listener's emotions without necessarily revealing any himself." Alex Denney of NME praised Parker for his musical transition, writing, "Fuzzed-out guitars simply aren't where Parker's head is at now, which strikes us as a fair trade-off from a producer pushing at the outer reaches of his talent." Alexis Petridis of The Guardian wrote "A lot of the album's power and strangeness comes from the way [the lyrics] cut against the lusciousness of the arrangements... and the loveliness of the melodies.
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Via the performances and several suspense tricks expected of Hitchcock, the weaknesses are glossed over to some extent but not enough to rate the film a cinch winner." Harrison's Reports wrote that the film "shapes up as no more than a mild entertainment, despite the expert direction of Hitchcock and the competent acting of the players. The chief weakness is that the action is slow, caused by the fact that the story unfolds almost entirely by dialogue." Richard L. Coe of The Washington Post called the film "completely choice," with Williams and Dawson "smooth as silk in reprising their stage roles," adding, "Hitch has a field day with his camera angles, darting our eyes now here, now there, doing tingling tricks with shadows and long longshots in quick contrast to fuzzed close-ups.
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Singer Pan Ron 1968 The recordings reflect the influence of Western rock and pop music in general and that of the United States in particular due to its heavy involvement in Southeast Asia during the Vietnam War. The compilation is varied, combining a range of popular Western genres like garage, psychedelic, and surf rock, with Khmer vocal techniques, instrumental innovations, and the popular romvong "circle dance music" trend. Several reviews describe the uncanny quality of the songs using words like "mystery" and "familiarity", to help account for the album's wide appeal at the time of its release when such compilations were less common. Yol Aularong's "Yuvajon Kouge Jet", for example, has been noted as sounding like a "fuzzed-out, reverb-soaked" "go-go organ and fuzz-guitar" cover of Them's "Gloria".
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The album received mixed reviews. Most reviewers saw the loss of the band's former frontman as pivotal, describing the band's new sound as smooth but lacking in passion. Mischa Pearlman of NME commented, "...this shift in direction sparkles with style and heart. Largely, though, the verve that made their debut exciting is, unfortunately, AWOL." There were positive comments about some tracks, such as "Middle Sea" and "Lose My Breath", which Ian Cohen of Pitchfork claimed, "boast the same kind of fuzzed-up leads that made the guitars of “Georgia” or “Get Away” as easy to sing along with as the vocals," but had "little of their frazzled energy", and accused singer Max Bloom and producer Chris Coady of trying to, "smooth out songs that lacked edge to begin with".
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The seven-track Sound of Confusion album had a heavy psychedelic style with a strong Stooges influence. It was "a full on, fuzzed up drone of relentless guitar pounding" (Ian Edmond, Record Collector), with a "rough garage energy " and "minimal, bluntly entrancing riffs" (Ned Raggett, AllMusic). A NME review of the 1990 re-release recalled of the album: "It's a lo-fi, mostly low-key affair, the sound of the band finding their feet... It doesn't quite attain the critical mass to transcend its basis in the most rudimentary garage punk of the Sixties... Side Two is pretty much one long tribute to The Stooges... Sound of Confusion probably felt like a revelation, to the few who heard it at the time."NME, 1990 – 'Sound of Confusion' (re-release) review by Simon Reynolds.
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" Dave Simpson of The Guardian praised the album's "sharp" songwriting, stating, "most of their songs – with themes of escape, freedom and reinvention – have huge impassioned choruses that are made to be shouted from the nearest available mountain". Awarding four stars, he also added, "The Rabbit are a band overdue a breakthrough, and fans of everyone from Arcade Fire to the similarly revamped Maccabees will find much to love here." NME magazine called the album "stunning". Praising the band's progression from previous releases, they wrote; "For every song of heartache (‘Yes, I Would’) and self-loathing (‘The Loneliness & The Scream’), there’s one of redemption (‘Foot Shooter’) or hope ('Swim Until You Can’t See Land’). The album deviates from their previous alt-folkish sensibilities: the fuzzed-up shoegazing of ‘Things’ and the anthemic chorus of ‘Living In Colour’ herald an exciting new bullshit-free dawn.
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In the early 1970s, he worked with French singers, husband and wife Ringo (real name Guy Bayle) and Sheila (later known as Sheila B. Devotion), as well as releasing some records under his own name in France. On many of these and later records he worked with fellow writer and producer Jean Kluger. In 1971 Vangarde and Kluger released the cult LP Le Monde Fabuleux Des Yamasuki as the Yamasuki Singers, a pseudo-Japanese concept album of pop songs, described on the sleeve of its CD reissue as "a fuzzed- out-educational-multi-cultural psych-rock-opera.... proto-psychedelic hip-hop with overweight drum beats and basslines". The song "Aieaoa" on the album was later recorded, as "Aie a Mwana", first by Black Blood and then by Bananarama, becoming the first UK hit for the latter group.
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Greg McIntish from AllMusic wrote: ' A lo-fi sonic sock in the gut built around Lieberman's ultra-fuzzed-out bass, multitudinous flute overdubs and other sundry sounds. Certainly outsider music there's no doubting that Lieberman's sound is unique, but like such artists as Wesley Willis it is completely stagnant... Mostly, the appeal of Arbeiter At The Gate and all of Lieberman's work is the sheer and impressive fearlessness of it. Rating 3.5 Stars out of 5 NeuFutur Magazine's James McQuiston noted: 'Although vocally, sometimes achieving an Ozzy-like inflection, the production and mixing of Arbeiter is almost painful to listen to because of the overdoing of the cheesy distortion Lieberman loves... Steve is unique, that much can be said. He's trying to make a coherent yet different album which doesn't necessarily make for solid, listenable music.
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The art style itself was praised as minimalistic, and considered reminiscent of the art of Lotte Reiniger, Edward Gorey, Fritz Lang, and Tim Burton. The use of misdirection in the visuals was also praised, such as by using silhouettes to avoid revealing the true nature of the characters or shadows, or by showing human figures across a chasm who disappear once the player crossed the chasm. Reviewers found the sound effects within the game critical to the game's impact. Sam Machkovech, writing for The Atlantic, called the sound direction, "far more colorful and organic than the fuzzed-out looks would lead you to believe". Edge magazine's review noted that the few background noises "[do] little else than contribute towards Limbo’s tone", while the sound effects generated by moving the boy character "are given an eerie clarity without the presence of a conventional soundtrack to cover them".
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The band played on numerous festivals and shows around the Canberra region and in Wollongong, which also had a thriving scene at the time, home to Tumbleweed, Dawn Patrol, Proton Energy Pills and many other bands playing a similar brand of fuzzed out heavy rock. A CD EP was recorded in Sydney and released in 1995, the band played some launch shows before the beginning of a long period of line up changes which finally solidified in 1996 with the current line up of Brad, Dave or DD (bass), Josh (also known JJ Lawhore from his 3-year stint in Blood Duster, guitar), Maggs (drums) and Mel (guitar). Pod People solidified their line up in late 95 with guitarist Mel Walker joining other new recruits Maggs (drums), Josh (guitar) and Dave (bass). They began writing and performing a heavier darker style than the previous line up.
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In October-November 1991 they recorded their next album, Get Your Wah Wahs Out, with Elliot producing again.. By 1992 they had signed with Shock Records' label, Shagpile Records and released the album that year. McFarlane felt the title was apt as it "featured an unsettling sonic assault of wah wah and fuzzed guitar effects that was remarkably intriguing by the same token". In October 1993 they followed with a six-track album, Couch, produced by Darren McBain, Dave Lokan and Lizard Train; and recorded at Big Sound Studios in April.. In March 1995 the next album, Everything Moves, appeared; it was preceded by its associated single, "It all Came from Nothing", a month earlier. They were produced by Steve Albini (Nirvana, The Breeders, The Jesus Lizard) at Mixmasters Studio in Belair.. Both albums "maintained the noise factor as well as the song quality".
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Paul de Barros of DownBeat wrote, "It would be easy to dismiss the supergroup Hudson as mere boomer nostalgia, but that would overlook just how vigorous, original, engaged and downright pleasurable this welcome debut sounds.... The band jumps deep into free territory on the title- track opener, an archeo-futuristic jam that spins raunchy, fuzzed guitar and skronky keyboard clanks around a throbbing, ceremonial beat". Seth Colter Walls of Pitchfork Media stated, "This is not the most fiery music DeJohnette has collaborated on, in his eighth decade. But the peaceable mastery that moves through Hudson does have the distinction of feeling comfortable without being too predictable". John Fordham in his review for The Guardian added, "The group's slightly clunky Native American chanting might have been better replaced by sampled field-recordings with instrumental decoration, but this is an elite jazz outfit collectively telling a compelling new story".
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" New Noise rates This is Fine four-and-a-half out of five stars, saying "like summer, [the album] flies by, leaving pleasant memories and a longing for a return of that sweet warmth," adding it has a "poppy sound, deeply personal subject matter, and variety of composition[s] [that] make for a phenomenal debut." A review in Riff says that "Well Wisher puts everything on the table and proves its not afraid to wear its heart and influence on its sleeve." The song "I Know Better" is listed in The Asbury Park Presss 12 best Jersey songs of 2018, who describe it as "a raw, fuzzed-out punk thing that'll drop the chorus in your head for a couple of days." Speak Into My Good Eye calls the song "an immediately catchy piece of indie-pop-punk as Newbold rebukes an ex who says one thing and does another.
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Jordan Bassett of NME characterized Kids See Ghosts as what "sees Kanye West and Kid Cudi catch up with the fragmented, fragile brand of hip-hop that they helped to shape". Christopher Thiessen of PopMatters wrote of the album's musical style that "the tracks are brooding, somber, psychedelic, and often capitalize on minor chord usage". Similarly, Dean Van Nguyen of The Guardian claimed for it to be "swarming with blistering electronics, laser-cut samples, psychedelic crescendos and edges as blurry as a half-remembered dream". Van Nguyen also viewed the track "Freeee (Ghost Town, Pt. 2)" as incorporating elements of rap rock, while Paul Bowler from uDiscoverMusic described Kids See Ghosts as being an "at-times woozy take on rap-rock", specifically noting "Fire" as being rap rock. Sidney Madden of NPR wrote that "Freeee (Ghost Town, Pt. 2)" is "reminiscent of fuzzed-out psychedelic rock of the '70s" and also noted the rock elements of "Cudi Montage".
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In 1991, Chuck Eddy of Rolling Stone wrote that Innuendo was "the group's most playful top-to-bottom pile since The Game" and "there’s no getting around the new album's craft", which he suggested meant the band were "finally satisfied with their lot in life", but he added "Innuendo is so lightweight you'll forget it as soon as it's over — which, with this band, should go without saying anyway". However, in 2016, writing for the same publication, Ron Hart described it as "Queen's last masterpiece" and an album which "boldly confronted mortality," likening it to David Bowie's final album Blackstar. People wrote "If this is cartoon rock and roll, at least it's good and brazenly cartoonish." The Orange County Register observed "Queen dispenses with any stylistic variations or flirtations with dance music and offers its basic sound: lots of Mercury vocal leaps, fuzzed-out May guitar, choral overdubs and a sense of orchestral importance mixed with straightforward hard rock", concluding that it was a "mixed bag".
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Ugly Is Beautiful received mixed reviews from music critics. Ben Jolley of NME said that "beyond the fuzzy guitars and old-school hip-hop beats, Tree's thought-provoking narrative – which tackles depression, loneliness, commercialism, bullying and ignoring haters – proves he's more than a piss-taking internet troll" and that the album "just about silences his credibility critics by delivering wall-to-wall pop-rock ragers while encouraging fans to be unashamedly themselves". However, Cat Zhang of Pitchfork wrote that "for an artist chasing shock and bombast, Oliver Tree's music is surprisingly tame" and criticized the album's length and Tree's voice which "is riddled with distortion, casting a fuzzed-out sameness over even the more left-field selections". Zhang said that Tree's lyrics "indicate deeper struggle behind Tree's ludicrous facade, touching on the same themes of being an outsider, fucking up, and dealing with negativity, although in the vaguest possible terms" but that they appeared heartfelt.
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Eschewing the Midwestern location of their Wisconsin-based Smart Studios, Garbage chose to record new material for the album at GrungeIsDead, Vig's California-located home recording studio. The band members had been sharing ideas over the internet prior to the sessions, and were keen to record them; vocalist Shirley Manson had come up with the song title "Tell Me Where It Hurts" a few years previously, and had matched newly written lyrics with a Burt Bacharach-style string arrangement that the band had created via email correspondence. After producing an electric guitar-heavy version of "Tell Me Where It Hurts", Garbage recorded a second mix of the track with more emphasis on the strings and recruited their former touring bassist, Daniel Shulman, to perform bass guitar on the song. The band completed another three songs during the sessions, including "Betcha" (Vig: "it's fuzzed up"), "Girls Talk Shit" ("pretty cool sounding, lots of fast pizzicato guitars and cellos"), and "All the Good in This Life", which Vig described as "kinda Pink Floyd-y".
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