Fuzzhead is the fiercely independent project of guitarist Bill Weita, based in Kent (Ohio) and active since 1989. They released twenty cassettes in six years, partially summarized on their first non-cassette album, LSD (Twisted Village, 1992 - Father Yod, 1996). Their recordings are basically garage-psychedelic freak-outs, lenghty and totally improvised space jams that attain an almost evil quality thanks to an unusually noisy background.
The trilogy of cassettes Fuzzhead is Love, Technicolor Soul, and What is Going On? (Pointless Music) and the trilogy of cassettes Nuclear Creation/Alien Mutation, Way to Stick It to the Man, Technicolor Soul (Heliocentric World of Sound) show the band's progression towards a psychedelic funk-rock with elements of rap, blues and dub.
Weita, a devote jazz and krautrock fan, incorporated ever larger doses of Sun Ra, Miles Davis and Can, and, later, a touch of electronica. Covers of Can classics abound in Fuzzhead's discography.
John Howitt - bass, vocal
Neil Sherhag - drums
Bill Weita , Scott Hosner - guitar
Bill Finsel - vocal
Neil Sherhag - drums
Bill Weita , Scott Hosner - guitar
Bill Finsel - vocal
After the 71-minute limited-edition monolith Mind Soup (New World Of Sound, 1993), that contains their epic Under My House, the band released a Miles Davis tribute album, Miles Out From The Corner (New World Of Sound, 1994), and a a Sun Ra tribute album, El Saturn (Father Yod, 1996).
High In A Basement (New World Of Sound, 1995), with Catnip in Her Head, I Saw The Best Minds Of My Generation Rock (New World Of SOund, 1997) with Burnout, and the 72-minute Got Marbles Inside (New World Of Sound, 1998) increased the dependency on drones and on funk.
Bill Weita's Substance D (Heliocentric, 1997) and Subsidized Time (Heliocentric, 1999) are, instead, devoted to odd noises of the synthesizer. The pieces can reach Foetus-grade intensity or glide towards ambient calm. Jazzmodic, Interstate, Space Station and Full Blown Robot (from the latter) are particularly accomplished.
link in comments
High In A Basement (New World Of Sound, 1995), with Catnip in Her Head, I Saw The Best Minds Of My Generation Rock (New World Of SOund, 1997) with Burnout, and the 72-minute Got Marbles Inside (New World Of Sound, 1998) increased the dependency on drones and on funk.
Bill Weita's Substance D (Heliocentric, 1997) and Subsidized Time (Heliocentric, 1999) are, instead, devoted to odd noises of the synthesizer. The pieces can reach Foetus-grade intensity or glide towards ambient calm. Jazzmodic, Interstate, Space Station and Full Blown Robot (from the latter) are particularly accomplished.
link in comments
link
OdpowiedzUsuń