Ford’s Fuzz Inferno | Interview | Worshipping the Fuzz
Ford’s Fuzz Inferno’s latest effort ‘Electrofuzzification’ hits like a burst of static in a forgotten warehouse, gritty and unrefined with a thick layer of fuzz.
They don’t give a damn about rules—a true labor of love where they did exactly what they wanted. The tracks on ‘Electrofuzzification’ stomp, sputter, and surge, much like the band itself, scratching through the noise and hitting every wrong note just right. It’s messy, raw, and carries that old-school punk vibe mixed with something that could only be called a “fuzzed-out headache” in the best way possible. You won’t find any fake frills here—just straight-up noise that feels like it’s about to fall apart at any second, but somehow doesn’t.
This interview dives deep into the chaos behind ‘Electrofuzzification,’ the DIY spirit, and the unrelenting drive of the band members who have been in the game for a long time and are still kicking out the jams.
“What can I say… I’m a fuzz worshipper”
Ford’s Fuzz Inferno started as a studio-only duo but is now a trio. What led to this shift, and how did you find your new drummer?
Hans Von Seydlitz: We started in January 2021. At that time, it was just my longtime friend and studio owner Patrick Delabie on drums and occasional guitar, and me taking care of vocals, guitar, and songwriting. Initially, we had no intention whatsoever of becoming a “real band” or playing live. However, when we got invited to do some shows in England in autumn 2023, we thought that could be something special, so we decided to go for it. A problem was that many of our songs really need two guitars, so we had to recruit a third member. Patrick enjoys playing guitar more than drumming, so he switched to guitar, after which our new line-up was completed by Belgian drummer Bootsie Butsenzeller. Asking Bootsie to join us was a no-brainer since he’s also the drummer of Scoundrels, Patrick’s recently reactivated ‘80s punk band. In the ‘90s, Bootsie contributed to my lo-fi project Ford’s Imaginary Inferno, which, in a way, was the non-punk forerunner of Ford’s Fuzz Inferno. We had no doubt that Bootsie would be the perfect guy for the job, so we were really happy when he said he was into it.
How has the dynamic changed now that you’re a trio? Do the songs feel different live or in the studio?
Having Bootsie on board feels very natural. The main change in the dynamics is that with Bootsie, there’s even more positive energy. As far as the music goes, our songs are rather straightforward, which suited Patrick’s style of drumming fine. Bootsie plays the older songs pretty much the way Patrick did, but for the new songs, Bootsie comes up with his own drum parts. He’s also into stuff like jazz, which I can imagine is interesting for a drummer. So, for him, it’s a bit of a challenge to keep the songs as straightforward as they were intended but, at the same time, make it worthwhile for himself. So far, as a trio, we’ve recorded only four new songs, but those worked out great. I think Bootsie managed to find a really good balance there.
Your latest LP, ‘Electrofuzzification,’ has a mix of brand-new songs and live-in-the-studio cuts. What’s the story behind this approach?
After we did our first series of gigs in late 2023, we recorded 11 songs from our live set, mainly to get a better idea of how we actually sounded as a three-piece. Since we were excited about the result, we released that session on a CD as an “official bootleg” kind of thing. It’s called ‘Fuzz Up Your Electric Chair, Baby!’ A bit later, in March 2024, we got back together at Patrick’s Studio 195 to record the aforementioned four new songs. Instead of releasing those as our next 7-inch EP, we combined them with six songs from the live-in-the-studio CD and made it our first release on the 12-inch format.
Six 7-inch EPs, two CDs, and now a 12-inch LP—what’s your connection to the physical formats? Is there something about vinyl that makes it feel more “real”?
My parents gave me my first record player when I was 10 years old, and from that moment on I’ve always loved vinyl. When the CD era started in the late ‘80s, people basically got forced into buying CDs. Most new titles simply weren’t available on vinyl anymore. Personally, I was sort of “half ok” with CDs for a number of years. I guess I got used to them, though I have always found the format somewhat clinical. And that’s not about the sound—that’s a different discussion. No, it’s those tiny plastic discs and jewel cases… even ecopaks. In my opinion, CDs just don’t possess the same warmth as vinyl, so I’m very pleased vinyl has made such a strong comeback. Nevertheless, I don’t mind putting out a CD whenever that makes sense. The first Ford’s Fuzz Inferno CD was a compilation of EP tracks, meant for those who enjoy our music but don’t own a turntable. And the ‘live-in-the-studio’ session was put on CD mainly because I wanted it to be a low-budget release that we could sell at a customer-friendly price. Having CDs manufactured is relatively cheap, which is one of the best things about CDs.
The psychedelic shirts on the cover of the CD Fuzz Up Your Electric Chair, Baby!—not what you’d expect from a band with “punk” in its DNA. What’s the story there?
Haha, I guess you’re right. And yes, there is a story there. Our first couple of gigs were booked as a package, together with Patrick and Bootsie’s band Scoundrels, meaning there were two trios on the bill that shared two members. In order to make sure people wouldn’t get too confused about who’s who, we thought the two bands should look completely different on stage. So we came up with the idea for one of the bands to wear flashy, colourful shirts. When we had to decide which of the two bands that should be, I guess Patrick and Bootsie thought: “Well, it’s fine if one of us wants to look like a bunch of idiots, but that’s not gonna be Scoundrels.” As you’ll understand, this was the last time we voted for anything.
“The years 1977-1980, for me, will always be the golden age of punk rock”
Diving back into punk music after so many years, how did your perspective on punk change during that time away?
When it comes to punk, I’m pretty much old school. The years 1977-1980, for me, will always be the golden age of punk rock. Don’t get me wrong, I also enjoy later punk bands, ranging from ‘80s bands such as Bad Brains, Hüsker Dü, and Wipers to plenty of stuff from the 21st century. But even nowadays, when I hear the word “punk,” what springs to mind first are still all the early British groups I grew up with. You know, The Damned, Buzzcocks, Stranglers, Undertones, Adverts, Ruts, and so on. If I have to “visualize” the concept of punk, I see Johnny Rotten in front of me. It’s that simple.
You played in punk bands as a teenager in the early ’80s. Now you’re doing it at 60+. What’s stayed the same, and what’s completely different?
To begin with the latter, much is different. In the late ‘70s and very early ‘80s, punk was the new thing happening. A next revolution in rock music. And like the case with any new genre, it was almost exclusively by young people, for young people. At gigs, hardly anyone was older than, say, 25. Well, very soon, in autumn 2026, we’re gonna celebrate 50 years of punk rock. Fif-ty years! And there’s gonna be a lot of old people involved. Another difference: fewer leather jackets, spiky hair, and army boots, and way more tattoos! Hmmm, I’m not sure how relevant that is… But anyway, all in all, I guess it’s fair to say the big picture has changed significantly. Musically, punk has become very diverse, with many subgenres and crossover styles. The boundaries are less strict. When it comes to what is and isn’t considered “punk,” there’s much more freedom, and people have very different ideas. I’m sure that’s a positive development.
I find the question “what has stayed the same?” slightly more difficult to answer. Maybe because the answer is “hardly anything”? Back then we had the Cold War, unemployment, and acid rain. And today? The mess is so big, I wouldn’t even know where to start. The political landscape is totally surreal and that’s not the only problem we’re facing. So for punk bands, there’s still more than enough to sing about. And on a personal level, there’s one thing that definitely hasn’t changed either. The excitement of playing in a punk band. The adrenaline rush is still there, even at age 62.
You just wrapped up a second UK tour. What’s the scene like there, compared to the Netherlands?
In the Netherlands, there’s no shortage of punk bands, and some cities still have rather lively local scenes. But I don’t have the impression we have something like a tight-knit nationwide scene anymore. I guess one of the main reasons for this is a complete lack of punk-oriented media. Ok, we do have Bacteria.nl and the very irregular printed Nederpunk zine. These are excellent but entirely focused on history and documentation. Then there are a couple of music websites that write about underground music, including a bit of punk every now and then, which is cool, but not enough. Any decent punk scene needs at least one or two radio shows that are entirely dedicated to punk. And fanzines are even more important. Fanzines are the cement of any punk scene. And believe me, they cannot be replaced by social media. During our two trips to the UK, I experienced that the punk scene over there is much more like I remember it from when I was young. There are still plenty of venues that put on punk shows on a regular basis, and bands support each other as much as they can, like they did in Holland back in the day. And there are many great English fanzines, both printed and online, that keep the punk flame burning. The English scene is surprisingly healthy. And frankly, when we tour there, I really feel at home.
Touring comes with its share of chaos. What’s one thing that always happens when Ford’s Fuzz Inferno hits the road?
I’m afraid I have to disappoint you here. The two little UK tours we did so far were perfectly organized, from start to finish. Last time we had a great driver, Greg, who made sure everything went 100% according to plan. There were no chaotic situations whatsoever. I can really appreciate some chaos going on in music, movies, or whichever art form, but not in real life. I always try to avoid chaos at all costs.
In Burnham-on-Sea, you and your girlfriend Mariska (soccer Committee) both played the BOSfest festival — what was it like sharing the stage with someone so close to you?
For Mariska and me, that was really special. Since her music is very quiet and restrained, soccer Committee and Ford’s Fuzz Inferno are a rather unlikely combination. We had never played the same event before and didn’t expect it would ever happen. But BOSfest is an extremely eclectic festival. So, when “our man in Burnham-on-Sea,” Steve, found out Mariska would also be on board to help us out with the merch, he arranged for soccer Committee to get booked as well. BOSfest takes place at various locations on the same street. First, we watched Mariska perform at the local cinema. Then she came to see us play at the hotel across the street. It was so much fun, especially experiencing that “pre-gig tension” together. We don’t have any posters of our own gigs hanging in the house, but for the little version of the BOSfest 2024 poster, we made an exception. Mariska put it in a nice frame, and now we’ve got it hanging on the wall next to the stairs.
Any memorable moments (good or bad) from the road?
At BOSfest, we were on late in the afternoon, and after our gig, all of us went to an Indian restaurant. There, we got served by the rudest waiter ever. We were barely seated, hadn’t even had the opportunity to check out the menu, when he already came to take our orders. For us, that was a bit too soon, but the place was busy, and apparently, the guy was in a hurry. So he more or less started to decide for us what we should have, in a pushy, passive-aggressive way. It was really bizarre and so unpleasant that we decided to leave. Then the manager of the place came rushing towards us, asked what was going on, apologized, and offered us a free meal. When I made clear that’s not how it works, he grabbed my arm and pretty much told us to stay. So there was some pushing and pulling going on at the door. It was quite a spectacle, and everyone was watching. Fortunately, at the Italian restaurant we went to next, the people were super friendly, and the food was excellent.
Another memorable thing happened on the ferry back home, just before the French coast. Bootsie and I were standing on the outside deck, chatting a bit and looking at the sea, when we suddenly saw two little sharks frolicking in the surface. They were there for only a couple of seconds, but it was totally awesome.
Breakfast on tour—what’s your go-to order? And is it really the most important meal of the day?
Having breakfast together is probably one of the things I enjoy most about being on tour. I find it a rather special kind of quality time. Apart from that, extensive breakfasts are probably what I like best about staying at hotels. I usually go for one or two bowls of cereals, toast with scrambled eggs and veggie sausages. But the most essential part of breakfast, by far, is the coffee. I really need coffee, at least two mugs, or I get super grumpy.
Subunderground C.A.—the “C.A.” changes with each release. Is it just a joke, or does it mean something to you?
Filling in the C.A. part differently with each release is a result of early developments and, probably, the way my mind works. The first record I put out on my label was an EP of previously unissued recordings from Waste, the punk band I was in from 1981 to 1983. For that release, I came up with the label name Subunderground Chaos Archives, simply because that pretty much covered the contents. But for the first Ford’s Fuzz Inferno EP, I had to think of something else since it was no archival release. So, I changed Chaos Archives into Control Authority, and after that, I kept changing the C.A. part with each release. So now there’s Counter Attacks, Cosmic Adjustments, Cultural Arson, Charity Abuse, Cryptic Answers… There are 12 releases with 12 different C.A. combinations. I guess it’s a rather unusual concept, and I hope it adds something to the label’s character.
Apart from FFI, you’ve also been putting out records like the Waste reunion EP and the Compulsive Agitation compilation EP. How does running a label alongside playing in the band influence your outlook on music?
I don’t think running a label influences my outlook on the music itself, but it does make me more aware of the ‘industry side.’ The records and CDs have to be manufactured, they need artwork, there must be some publicity, and distribution… There’s quite some work involved. Sometimes it almost feels like a real job.
How was it to record with your old bandmates from Waste, 40 years after the group disbanded?
We recorded our reunion EP in December 2022. The four of us playing together again after all that time felt a tiny bit strange in the beginning. I live in a completely different part of the country, and I’ve hardly seen the other guys during the last 25 years or so. Back in the early ‘80s, we were kids; now we’re rather old dudes who’ve all lived very different lives. Our singer Richard is a grandpa… So yeah, of course, it felt different than 40 years ago. The first one or two hours, I guess we all had to get used to each other again, but it worked out fine. The experience was enjoyable, and I think we made a really cool little punk EP too.
What motivated you to release the ‘Compulsive Agitation’ EP?
Earlier on, I mentioned that the first bunch of Ford’s Fuzz Inferno gigs, in Holland and England, were together with Scoundrels. The initial plan also included Rhi & The Relics, a great English band featuring our mate Neil Duncan from Issue zine, who arranges most of our UK shows. I thought it would be nice to put out an EP to support the gigs and also as a kind of souvenir. In order to increase the fun, I also included tracks from Neil’s solo project Krust Worthy as well as the new Waste EP. Unfortunately, Rhi & The Relics disbanded shortly before the gigs happened, which was a disappointment. But nevertheless, I’m still happy they’re on the EP. As far as I’m aware, the ‘Compulsive Agitation’ 7” is the only existing release to feature a track from Rhi & The Relics, which makes it even more worthwhile.
“The biggest advantage of DIY is having complete artistic freedom, there’s no interference from other parties.”
Does the DIY spirit mean something different now than it did back in the day? Or is it still the same “just make it happen” vibe?
I guess the general idea is still exactly the same. You don’t necessarily need a record company to release music. You just take care of it yourself. The same goes for publishing a book or magazine. The biggest advantage of DIY is having complete artistic freedom—there’s no interference from other parties. What did change through the years, though, is that back then, most DIY artwork was done with typewriters or markers, scissors, and glue. Nowadays, everyone owns a computer, so it’s much easier to make DIY stuff look quite “professional,” even if it’s low budget. I guess that’s a good thing, although I must say the old days definitely had their charms.
What’s next for Ford’s Fuzz Inferno? More records, more tours, or something completely unexpected?
This winter we’re gonna record a bunch of new songs, either for an EP or a mini-album. In April, we’re gonna do some shows in Holland, and we hope to return to the UK in the summer of 2025. And after that, who knows. The adventure isn’t over yet.
As a label, Subunderground C.A. has been busy. Are there any other projects or releases in the works?
As said, there’s definitely gonna be a next Ford’s Fuzz Inferno release. And since I enjoyed putting out the ‘Compulsive Agitation’ EP, I’m also playing with the idea for a next compilation with a bunch of different bands. But that’s still vague. We’ll see what happens. The future is wide open.
If Ford’s Fuzz Inferno could play a gig anywhere in the world, no limits, where would it be and why?
I really don’t have a “bucket list” of venues or festivals I’d like to play. For me, there are no “mythical” places. Any gig can be fun, whether it’s at some prestigious event or a small club in the middle of nowhere. But if I really must give an answer, then I’d say: let us be the in-house punk band on some luxury cruise ship for five or six days. Maybe in the Caribbean. The weather has to be pleasant, and the sea calm. Hmmm, yes, I think we would enjoy that.
Do you see fuzz as the thing that separates the true believers from the non-believers?
Haha, I guess you’re hinting at the title of our debut EP, ‘Deniers Of Fuzz Will Be Executed,’ or at the quasi-religious references we used for a couple of our releases. What can I say… I’m a fuzz worshipper. My fuzz has godlike qualities. It’s powerful, and it makes me happy. And I know what my fuzz looks and sounds like. It truly exists! Most people on our planet, even in the 21st century, still worship gods they’ll never see or hear. Now who’s crazy?!
What are some of the latest records on your plate?
My musical “Zeitgeist” keeps changing. Or maybe it goes round in circles, I dunno… Anyway, as the ‘90s passed by, I slowly became less interested in the world of punk. I just didn’t find the developments very exciting. So I started digging into other stuff, old music mainly. Between 2003 and 2021, I wrote about obscure ‘60s music for the Dutch collectors magazine Platenblad, so during those years I was listening to British Invasion bands, garage, surf, psych, and folk rock most of the time. I still love plenty of those records, but I guess I gave myself a bit of an overdose. So the last couple of years, I find listening to punk and punk-ish music quite refreshing again. Not only old, classic stuff, but also contemporary bands like Uranium Club, Class, Smirk, and a bunch of others. I’m also really enjoying the records and CDs I brought home from our latest UK trip, by bands we played with: Rites Of Hadda, Pussycat & The Dirty Johnsons, Geeza Punx with our friend Neil, Abrazos, Cram… I probably wouldn’t have known any of those if we hadn’t been over to the UK. Meeting and getting to know other bands, that’s one of the great things about doing gigs and touring. Man, it’s so much fun to be in a punk band again after all those years! I always expected being 60+ would completely suck, but so far I’m actually having the time of my life.
Klemen Breznikar
Headline photo: First Ford’s Fuzz Inferno gig in Bergen Op Zoom, NL in September 2023.
Ford’s Fuzz Inferno Bandcamp
Waste Facebook
From Waste, The Scream Therapy, Betty Ford Clinic, Ford’s Imaginary Inferno to Ford’s Fuzz Inferno | Interview | Hans Von Seydlitz
