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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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 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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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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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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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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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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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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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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"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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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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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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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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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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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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