Interview: Sven Ruygrok On Fuzz's Section 31

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Post on Jan 29, 2025

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Interview: Sven Ruygrok on Fuzz's Section 31

A Deep Dive into the Creative Process Behind Fuzz's Groundbreaking Section 31

For fans of experimental music and the innovative soundscapes of Fuzz, the release of their Section 31 project was a seismic event. This wasn't just another album; it was a statement, a sonic exploration pushing the boundaries of what's considered possible within the realms of psychedelic and experimental rock. To understand the genesis and execution of this audacious undertaking, we spoke with Sven Ruygrok, a crucial member of Fuzz, to delve into the creative process behind Section 31.

The Genesis of Section 31: More Than Just an Album

Question: Sven, Section 31 feels like something entirely different from Fuzz's previous work. Can you tell us about the conceptual origins of the project?

Sven Ruygrok: It wasn't a conscious decision to drastically change our sound. Instead, Section 31 evolved organically. We'd been experimenting with different recording techniques, delving deeper into improvisation, and exploring more textural soundscapes. The idea of Section 31 wasn't a pre-conceived narrative; it was more of a feeling, a vibe we were chasing. We wanted to create something immersive, something that felt like a journey, rather than a collection of distinct songs. The title itself, "Section 31," evokes a sense of mystery, secrecy, even paranoia – all feelings that influenced the music's overall atmosphere.

The Importance of Improvisation and Spontaneity

Question: The album features extended instrumental passages and a heavy emphasis on improvisation. How did this approach shape the final product?

Sven Ruygrok: Improvisation was paramount. We spent countless hours in the studio, just jamming, exploring different sonic territories. We had a general direction, a feeling we were aiming for, but we allowed ourselves to be guided by the moment, by the flow of the music itself. This meant that we often stumbled upon unexpected sounds and textures, things we wouldn't have consciously planned. This spontaneity, this element of surprise, was key to creating the unique atmosphere of Section 31. We embraced the unpredictable nature of improvisation, letting it lead us to uncharted musical waters.

Recording Techniques and Sonic Textures

Question: The album's sonic texture is incredibly rich and layered. Can you discuss the recording techniques and equipment used in creating Section 31?

Sven Ruygrok: We employed a variety of techniques, both traditional and experimental. We used vintage analog equipment, as well as more modern digital tools, layering sounds and textures to create a complex, multifaceted sonic landscape. We utilized tape saturation, multi-tracking, and a range of effects pedals to sculpt the sound, creating a sense of depth and dimension. We were less concerned with achieving a pristine, polished sound and more interested in capturing the raw energy and emotion of our improvisations. The imperfections, the subtle glitches, became part of the overall aesthetic. We embraced the idea of the recording process itself being a creative act, rather than just a documentation of a performance.

The Influence of Psychedelia and Experimental Rock

Question: Section 31 draws heavily on psychedelic and experimental rock traditions. Which artists or albums have influenced the band's sound, particularly on this project?

Sven Ruygrok: The list is long and varied! We've always been inspired by the pioneers of psychedelic rock, bands like Pink Floyd, Jimi Hendrix Experience, and early King Gizzard & The Lizard Wizard. But we also draw heavily from experimental artists like Sun Ra, Can, and Brian Eno. For Section 31, we were particularly interested in the sonic explorations of krautrock, the improvisational spirit of free jazz, and the atmospheric soundscapes of ambient music. We tried to synthesize these influences, creating something unique that incorporates elements from these diverse genres, while retaining our own distinctive sound.

The Role of Feedback and Distortion

Question: The use of feedback and distortion is prominent throughout Section 31. How did you approach incorporating these elements into the music?

Sven Ruygrok: Feedback and distortion aren't just effects; they're instruments in themselves. We used them to create textures, to build atmosphere, and to add a sense of chaos and unpredictability. The controlled use of feedback allowed us to create soundscapes that were both beautiful and unsettling, simultaneously hypnotic and disorienting. We aimed for a balance between structured passages and moments of pure sonic exploration, where feedback and distortion were used to push the music to its limits. This deliberate use of distortion contributes significantly to the album's overall immersive and intense experience.

The Future of Fuzz and Beyond Section 31

Question: What are your hopes and expectations for Section 31? How do you see this project influencing the band's future work?

Sven Ruygrok: We're excited to see how people react to Section 31. It's a bold step, a departure from our previous work, and we're curious to see how it resonates with our audience. Our hope is that it inspires listeners to embrace experimentation, to explore the possibilities of sound, and to appreciate the beauty of imperfection. The experience of creating Section 31 has undoubtedly influenced our creative process. We've learned to trust our instincts, to embrace the unpredictable, and to push the boundaries of our musical capabilities. While we won't necessarily continue making albums exactly like Section 31, the lessons we learned and the creative freedom we experienced will undoubtedly shape our future work. We're constantly evolving, constantly exploring, and we're excited to see where the music takes us next.

The Legacy of Section 31

Question: Looking back, what is the most important thing you hope listeners take away from listening to Section 31?

Sven Ruygrok: I hope listeners experience a sense of immersion, a journey through sound. I hope they allow themselves to be transported, to lose themselves in the music. It's not an album to passively listen to; it's an experience to be actively engaged with. The most rewarding outcome would be if Section 31 encourages listeners to explore other experimental music and to appreciate the boundless creativity and innovation within the genre. Ultimately, we aimed to craft something unique, something that challenges expectations and expands the boundaries of what people consider "rock music." If we've achieved that, then we've accomplished our goal.

Section 31 is not merely an album; it's a testament to the power of experimentation, improvisation, and the pursuit of sonic innovation. Sven Ruygrok's insights offer a fascinating glimpse into the creative process behind this groundbreaking project, solidifying Fuzz's position as a leading force in the ever-evolving landscape of experimental rock. The legacy of Section 31 promises to resonate for years to come, inspiring future generations of musicians to push their creative boundaries and explore the uncharted territories of sound.