I’ve already spent some time with Fuzzy Feelings before, having previously reviewed their single “Campaign,” so going into Under the Pit didn’t feel like a first encounter. I already had a sense of their fuzzy, energetic world and the way they balance catchy melodies with punk urgency. Hearing “Campaign” again here, now framed by the rest of the album, makes it clear how naturally it fits into the bigger picture they’re building. Fuzzy Feelings is a London-based band, originally from Brooklyn, led by Joey from the NYC band Gross Relations. Their sound sits comfortably in a fuzzy, buzzy, lo-fi garage rock world that pulls from punk, power pop, and 90s guitar-driven music. Under the Pit feels like a full realization of that sound. It is fast, playful, emotional, and packed with melody, while still keeping things raw and energetic. The album moves quickly, but each track feels intentional and thoughtfully placed, creating a very cohesive listening experience.
The album opens with Powerline, and right away, the name feels extremely appropriate. The song kicks off with energetic power chords that immediately pull you into the record and set the tone. When the drums and layered vocals come in, everything locks together in a way that feels exciting and welcoming. I really love the little guitar lick that happens before the line “know it’s just a throwaway.” It is a subtle moment, but it adds so much character. The song is very upbeat and feels like it would fit perfectly in a coming-of-age movie. The outro is especially strong, with a singable vocal melody that leaves a great first impression and makes for an excellent opener.
Down and Sideways follows with fast-paced drums and fuzzed-out guitars, both a lead line and crunchy rhythm chords. The vocals come in very chilled, which creates a nice contrast against the intensity of the instrumentation. This track reminds me a bit of early Green Day before American Idiot, very punk at its core but still melodic. One thing I really appreciate about this song is that underneath all the crunch, there is a strong singer-songwriter foundation. You could easily imagine this being stripped down to an acoustic performance because the chords, lyrics, and melody have such a great synergy. The energy is what really holds everything together. The vocal production is also very effective, with a crispy quality that cuts through nicely, while the background vocals are blended into the track in a way that feels natural. The little rhythmic hit sections add even more momentum.
Unrelated starts off heavy with the drums, paired with a smooth lead guitar and more compressed and tame rhythm guitars. The vocals at times remind me of The Radio Dept., which gives the song a slightly dreamy quality despite its intensity. The chorus is a standout, especially the second time it comes around, and I really appreciate how each chorus brings something fresh rather than feeling repetitive. The lyrics are very easy to digest and feel more direct in their writing. The angst of lines like “Retaliate, retaliate, nothing to lose” meshes perfectly with the genre. The outro is another highlight, shifting into a different feeling that almost comes across as comedic in how lighthearted it reflects on what came before.
Basic Truth is short and sweet, and that choice really works in its favour. The bass guitar is the driving force here, pushing the song forward with so much power. The guitar tone is super playful and adds to the song’s charm. Because of its length, the track has a very tender quality to it. It feels entertaining and almost like it could live inside an animated scene. The vocals are effective in both their layering and rawness, proving that even in a brief runtime, the band knows exactly how to make an impact.
Hey starts with sparse guitar hits alongside snare and tambourine hits. The vocals are very direct, and when the bass comes in, it adds a lot of weight and presence. This song does an excellent job of building dynamically, creating walls of sound that gradually become thicker and more filled out. I really enjoy the simplicity of the melody and lyrics. Even though “I, hey” is just two words, they are delivered in a way that feels intentional, emotional, and incredibly singable.
Soul Seeker brings in a great rhythmic relationship between the ride cymbal, drums, and organ. There are moments where the song shifts into a minor key, which takes the sound into a different emotional space. The instrumentation blends together beautifully, and the song features one of my favorite sets of lyrics on the album. “Heart beating, soul seeking. Cries, keep control, keep breathing. Lies, compromise, stay inside till it subsides” feels honest and grounded, fitting perfectly with the mood of the track.
50 Takes opens with a playful melody and a filtered guitar that is used very effectively. One of the strongest qualities of Fuzzy Feelings as a whole is their sense of melody, and this song really highlights that. The melodies are playful and easy to get behind, and the organ tone is especially enjoyable. The vocal stacking stands out here, with each layer having its own clear separation while still feeling cohesive. The vocals are crisp but nicely saturated, and the way they sync with the melody that has been carried throughout the album feels very satisfying.
Sludge Mains acts as a brief bridge between 50 Takes and Death Blight. It features nostalgic layered guitars and serves its purpose without feeling overly performative. It is a smooth riff that gently moves the listener forward and helps with the overall flow of the album.
Death Blight leans heavily into repetition, using a droning note for much of the song. This really highlights how effective repetition can be when it comes to building tension. When the note finally shifts into a sweeter guitar melody, the contrast feels rewarding and intentional. The song continues to build until it reaches a breaking point of childlike intensity. It is placed very well within the album sequence and ends with a satisfying fade out.
Choke Hold brings in guitars that remind me a bit of early Weezer. There is a garage rock feel here, but the punk attitude is still very present. I really enjoy the vocal tone and the delivery of the line “Everyone just seems so frozen in time,” which stands out as a memorable moment.
Campaign works extremely well as the closer, and it is a song I have already spent time with before in a previous review. Hearing it again within the full context of Under the Pit really reinforces why it stood out to me in the first place. “It’s another campaign, just another bad dream” makes perfect sense as a final statement for the album, tying together the themes, energy, and emotional tone that have been building throughout the record. The melody drives the track and showcases the power of the wall of sound that Fuzzy Feelings are so good at creating.
Pink Sun acts as a final tag to the album. It is distorted, cute, and feels like a proper ending to the punk symphony that is Under the Pit.
Overall, Under the Pit is a strong and engaging album that balances energy, melody, and raw emotion. The sequencing is thoughtful, giving each song its moment while maintaining a cohesive flow. It is easy to return to, and every track offers something to appreciate, whether it is a playful melody, a standout lyric, or a driving guitar moment. I would happily listen to this album again, and it leaves a very positive impression of what Fuzzy Feelings can achieve.
Rating: 7.5/10
Written by John Drifter (drifting.) (IG: @drifting.musically)
