‘Delivering performance-centred drama, stadium-esque lighting effects, and insane camera angles, it’s epically enticing.’
When a debut release is nothing short of epic sounding, you can only hope that the music video will be the same. Spolier alert: with the visuals for Fuzz Skyler’s track ‘Recall’ having now arrived, we can confirm it most definitely is the case. Released 1st March for the world to enjoy and relish every single frame of, what we get to experience is the most perfect blend of live performance elements, multiple locations, knock-out camerawork, and lighting effects that are of stadium-esque proportions. Sure the track itself delivered an insane level of impact, but alongside this newly released music video, you can’t help but feel that Fuzz Skyler’s message to the music industry is even stronger.
Opening with a close focused shot of a sledgehammer, you’re instantly filled with curiosity and a fair bit of trepidation. Associated with demolition, you wonder if the explosive sonic sound is to be replicated by a sea of in your face destructive elements. Then a widening jump cut reveals Fuzz grabbing hold of, lifting, and hurling this tool of destruction towards nothing other than his upright piano! No! You scream. Yes we’ve all seen guitarists smashing up their instruments at the end of a set, if for no other reason than showmanship, but a piano somehow hits different. Good job that this shot is cut short then and we don’t see the result. Well not yet anyway…
Shifting to what will be the main focus of the visuals, with those initial moments lighting a fire of excitement inside us we become the audience at our own Fuzz Skyler gig. Full-on, dramatic and immersive, it’s utterly enticing and you not only find yourself forgiving Fuzz for attempting to smash the piano, but yearn to be at one of their live performances. And as he explains, this was kind of what steered the whole artistic direction of the video:
“With our first music video, we wanted to show who we are and so much of that drama is our expressed in our stage performances. We wanted to show people what they can expect from one of our gigs. Plus, it suits the energy of the song.” Weirdly, and perhaps in a slightly sadistic way, knowing this makes you want to witness the crashing and smashing in person.
Continually referencing that aforementioned aim, as we progress through we witness many different aspects that truly belong on a stage. In the case of Fuzz himself, you’ll find yourself grinning at how he nods to musical influences, such as how his performance takes on Freddie-esque tendencies. In terms of staging, you’ll notice how the standard setup of drums, guitars and bass is apparent, yet due to the energy-fuelled delivery feels raw and refreshed. Likewise, the alternations between a well lit rehearsal room and a gritty den with graffiti sprawled walls never feel disjointed. Of course, some, if not the majority of this comes from the visually connective elements of insane camera work, and potentially the heaviest use of strobes you’ve ever seen.
“We wanted to capture the movement of the song, especially with what’s happening on the drums.” says Fuzz, “Using strobes helped us to really bring that into the picture. However, the use of these did cause some complications as it took an hour and a half to set up the machine. Obviously, we got there in the end though.” There is no doubting that this enhanced the entire video, and produced the exact atmosphere they were after. However, it is worth noting – as the band themselves do ahead of the video playing – that if you suffer from photosensitive epilepsy, you should use your own discretion. For those of you who do go ahead and watch though, you will get to see the band styled by Oriana Hooper – who Fuzz says “achieved the big task of making us look good” – and witness Timothy Houle’s camerawork.
Speaking about how such a phenomenal final look was achieved, Fuzz added, “Timothy is a crazy guy, and most of the camerawork was spontaneous improvisation from him. He was constantly moving around, and he never stood still once as he was back and forth on all of us. We actually knew him from university and while he was a drummer, he thought he had more skills with video. And he was right! His film work is so good.” And it most definitely is.
Whether it’s the wide angles that allow us to take in the whole band, the close-ups on Fuzz as he gives us his impassioned vocals, or the string level guitar shots that make the fretboard look like a highway, you can catch a visual breath no more than you can with the track itself. On top of this though, there’s the moment where Timothy has somehow managed to capture an explosive guitar solo in pitch-black, while strobes fire off like the most hectic of thunderstorms. Honestly, it’s a sequence that would take some beating.
But then, in an attempt to achieve just that, footage of Fuzz playing piano intersperses with full band hecticness and shock value sledgehammer shots, which not only lead to an obliteration of his “second baby”, but deliver a lasting visual message that screams of how much they want to change the music industry.
Recall by Fuzz Skyler is out everywhere now.
Please note that this video contains flashing lights and could potentially trigger seizures for people with photosensitive epilepsy. Viewer discretion is advised.