Just when we thought Ty Segall was going to chill out and have a much-needed break, he goes and forms Fuzz. Solo-wise, 2013 has been relatively quiet for Segall, having only released one (only one?!) album under his own name (the acoustic, Hunky Dory-esque Sleeper) rather than the usual two to three a year output we've seen from him before. We were informed about the birth of Fuzz early this year, through the unveiling of a 7" containing 'This Time I Got a Reason' and 'Fuzz's Fourth Dream', both displaying the heavy rock slant the band were aiming for. They hit the target and smashed it to pieces; the songs were well-received all over the internet and the records sold out.

The first thing to note about Fuzz is the line-up, consisting of Segall on drums and vocals, Charlie Moothart (of the Ty Segall Band) on guitar and Roland Cosio on bass. Segall may seem like he's taking the back seat over on the drum stool, but he still tends to dominate the overall sound through his high-pitched, witch-like singing and tight, impressive beats. His name alone was always going to be one of the biggest attractions for rock fans, as by now he is a well-respected and genuinely prolific figure in music. The focus is always going to be on Segall, but there is a real sense of teamwork on Fuzz that is exciting for everyone involved, including the listener. And whilst Segall does shine brightest on the album, his compadres also stand out as menacing forces in their own corners of the stage. The riffs and solos are everywhere; Moothart roars through every song like a madman, nailing some blistering solos, and it's great to hear him let loose. Cosio's grooves are thick, snake-like and stoned, wrapping themselves around the other instruments but never constricting.

'Earthen Gates' is the opener, beginning in a slow, Led Zeppelin-like fashion with a beautiful hammer-on guitar line before slowly climbing into the main song; a relentless and crunching attack of hard rock'n'roll. Segall screams over his band as the riff is reintroduced louder and more amped up than ever, before a Moothart solo that Jimmy Page would be proud of. Interestingly, the song fades out rather than merging right into the next jam, but 'Sleigh Ride' jumps straight in before you can say "San Francisco". Segall arrives, spitting venomously: "We changed those raising the white god, they braced and then we got through," lyrics doused in mysticism and mythology.

'What's in My Head' takes a lot of the album's spotlight, the first single from the album and strong in both sound and success. The guitar is drenched in blues as it sails into a gigantic, anthemic chorus. The lyrics are typically Segall, looking at madness and paranoia. So many critics will compare the band to Black Sabbath, but as somebody who isn't too well acquainted with the legendary Brummie band I cannot really make the same comparisons. There is an obvious link though, to songs such as 'Paranoid' and 'Iron Man', whose riffs have stood the test of time since the band's heyday in the 70s. And the riffs on Fuzz are up there, maybe not being quite as iconic or memorable but certainly equal in how grandiose and bone-shattering they are. Segall and Moothart are massive Sabbath fans, which I know now but found out last summer in Manchester when they tore right into 'Paranoid' at the end of their set as the Ty Segall Band.

The rest of the album is great too. A highlight for me is 'Loose Sutres', which is one of the tunes that the group shared before their album was released. So, in short, a load of mental guitar explosions driven by Segall's maniacal drumming, pinned down by some ground-shakingly groovy basslines and with a few ear-splitting Moothart solos thrown in for good measure. The distortion pedals are stamped into the floor and the result is terrifyingly good, the spooky vocals of Segall gliding overhead. Then the band decide to race each other through an orgasm of an instrumental, and you can almost see them jeering at each other, daring each other onwards. Things come to a halt at the halfway mark (three minutes in) before they rev up their engines once more before blowing the faces off anyone within a five mile radius.

The rest of the album follows in the same footsteps, with 'The Preacher' being another erratic number, in which Segall comes off like a demented Liam Gallagher during the early days of Oasis when they were fucked on cocaine and playing harder, (think his John Lennon meets Johnny Rotten delivery on 'Headshrinker'). The similarity struck me at first, and I cited Segall's Britified (I just made that up, I think) accent in the song as the main reason, as the whole album is a love letter to the old heavy rock, proto-metal British pioneers like Zep and Sabbath. The final song is 'One' and sounds like it was recorded in a mental asylum, an all-out assault on your ears, towering, rising and rising continuously before a wild, wah-wah climax and a crashing conclusion to the record.

I didn't find any of the songs on Fuzz weak, but all eight are very much in the same vein and don't offer an awful lot of variety. If you are in the right headspace, and simply want to be bombarded and destroyed by a barrage of colossal rock and roll then this is the perfect album for you. If you aren't prepared for Segall and his fellow titans, you needn't bother. But whatever your verdict, your dad will probably fucking love it.