Will someone tell me why the fuck we’re still enabling Ty Segall? The man makes lowest common denominator garage rock and nothing else, cover features and think pieces will never change that. Supposedly Fuzz were intended to be an anonymous project, with Segall and whoever else is responsible for this shit keeping their identities under wraps. Artists who choose to keep schtum about who they are often are the ones who make music that’s attempting to be modern or forward thinking, but remaining anonymous while making shitty rock music for people who like their nostalgia delivered by smug asshats who have an understanding that what they’re doing isn't some reverential homage to the guitar-shredders and pissed-off small-town dreamers who made garage rock into an escapist art form isn't a knowing nod to the facelessness of that bygone era, it’s a misguided attempt at making some of the least interesting music to ever surface a sheen of respectability.
In a feature on Segall in the Guardian’s G2 magazine, the writer of the piece stated that the live show he had just witnessed was the kind of gig that made kids go home and start up a band, and I don’t know if it’s the thought of an artist this witless holding that kind of power or the thought of an army or moronic garage rock bands being allowed a sheen of legitimacy is a more terrifying prospect. Even though Segall and his myriad recording projects all succeed from appealing to people’s nostalgia, he represents a very modern concept: he is the human embodiment of the culture of constant content. He churns out this muck and people keep on listening, not because it offers anything of value, but because people can’t resist constant newness.