Kategória: John Frusciante

Új Speed Dealor Moms lemez

John Frusciante és Aaron Funk újabb közös lemezzel jelentkezik május 10-én, a címe Birth Control Pill. A formáció első kislemeze még 2010-ben jelent meg, amely a bandcampen meghallgatható.

Speed Dealer Moms, the live electronics outlet comprising cross-genre iconoclasts John Frusciante (Trickfinger, Red Hot Chili Peppers) and Aaron Funk (Venetian Snares), is over a decade into its idiosyncratic run. On „Birth Control Pill,” only their third release, the boundless potential of the chaotic and elegant project snaps into focus.

If there are virtuosos programming synthesizers and drum machines, then they were in the room when these two tracks were recorded. The epic title cut is perhaps the most „functional” track Funk and Frusciante have released thus far. This is ruffneck dnb business, but it’s also Speed Dealer Moms, so there is the requisite descent into chaos. The track’s precise melodies are unceremoniously dunked into Funk’s signature, ripping breakcore. The drums pick up speed until the crash test dummies hit the wall; a thrilling, extratone breakdown.

More madness lurks on the B-side, „Benakis,” which seemingly nods to the visionary Greek composer. With its unconventional time signature and intricate melodies, this one slides in like a lion and out like a lamb, cycling through breakcore and hard techno before eventually giving the listener a reprieve by way of a dreamy, beatless outro.

Speed Dealer Moms drive their own, crooked road built on friendship and a telepathic musical connection—the collaboration and encouragement of Funk ushered Frusciante into the dense world of hardcore machine funk. The results of these sessions don’t sound quite like anything else but feel spiritually connected to iconoclastic ’90s work by the likes of Bogdan Raczynski or Andrea Parker—punkish electronic records made in fearless pursuit of the new. Funk and Frusciante follow ideas to an illogical endpoint, and this hurtling approach now results in the best, most concise Speed Dealer Moms record yet. The road to wisdom, after all, is paved with excess.

Rolling Stone: A 250 legnagyobb gitáros

A Rolling Stone előszeretettel készít mindenféle listát, most a 250 legnagyobb gitárosról csináltak egyet, amely listának a 25. helyén John Frusciante áll.

The Red Hot Chili Peppers have never been easy to pin down musically, and for that one can largely thank Frusciante, the son of a Juilliard pianist. The band’s wild-eyed original guitarist, the late Hillel Slovak, was a hard act to follow, but Frusciante — who is now in his third tenure with the band — played a major role in dragging the Chili Peppers out of the white-funk ghetto and into musical worlds all their own. Always playing in service to the song, Frusciante gave the Chili Peppers a breadth they hadn’t had before: consider the headbanger riffing beneath their cover of Stevie Wonder’s “Higher Ground,” the sensitive strumming in “Under the Bridge” and “Scar Tissue,” the metallic funk sleaze on “Give It Away,” the moody strumming on “Beneath the Girl,” and the volcanic, Hendrixian solo on “Dani California.” That eclectic palette lent Chili Peppers albums like Californication and Blood Sugar Sex Magik a remarkable variety — and made Frusciante one of the most influential and vital guitarists of the alt-rock era. —D.B.

Key Tracks: “Dani California,” “Under the Bridge”

This Little Light – John Frusciante

Flea saját podcastjének, a This Little Lightnak legújabb részében John Frusciante-val beszélget.

John Frusciante’s music education and evolution, from 1. First picking up an acoustic guitar (that he wished was electric) → 2. His first experiences with teachers, including ones that inspired him and ones that discouraged him → 3. Discovering punk rock in LA → 4. Playing his first show in LA → 5. Joining the RHCP and embracing his own signature style.

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Broken Record Podcast: John Frusciante 4. rész

Újabb Broken Record Podcast érkezett, ahol Rik Rubin vendége most már negyedjére is John Frusciante.

In this conversation, John plays through more of his guitar parts and explains how he came up with some of the most memorable guitar melodies in modern rock history. John also explains how listening to Brandy, Destiny’s Child, and Wu-Tang Clan helped influence his playing on Stadium Arcadium.

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Jövőre új John Frusciante album érkezik

Az utóbbi pár év újra a rock zenéről szólt John Frusciante számára, úgyhogy most tart egy kis pihenőt, jövő februárban kiad egy új elektronikus lemezt, két kiadásban.

After a year and a half writing and recording rock music, I needed to clear my head. I listened to and made music where things generally happen gradually rather than suddenly. I would set up patches on a Monomachine or Analog Four and listen to them, hearing one sound morph into others, making changes to a patch only after having listened for quite a while, gradually adding elements, and finally manipulating the sounds on the fly. All tracks were recorded live to CD burner, with no overdubs, and executed on one or two machines.

While I was almost exclusively listening to artists such as Chris Watson, Peter Rehberg, Bernard Parmegiani, CM Von Hausswolff, Jana Winderen, Oren Ambarchi, Hazard, Bruce Gilbert, Klara Lewis, Ryoji Ikeda, and so on, I was also inspired by my mental image of John Lennon’s tape and mellotron experiments he made at home during his time in the Beatles, as well as events like the first minute of Bowie’s Station To Station, …And The Gods Made Love by Jimi Hendrix, the synths in the song Mass Production by Iggy Pop, and the general idea of Eno’s initial concept of Ambient music.

Music being a solitary sculpture in sonic space was the main motivating thought. I was looking at pictures of sculptures and trying to make music that simultaneously conveyed both movement and stillness. I refrained from sudden musical changes, especially avoiding sequences of notes and rhythms. In fact, this music was made from sequences which never exceed a single note, many of these pieces being made on a single pattern. The movement which a good sculptor conveys when the shape of his medium meets the eyes of the viewer who walks around the piece, or the sun changes its position, are the kinds of movement which it was the role of the synth patches to communicate. I was using sound to create what I saw as being a physical structure.

I’ve been listening to music like this since I was 13 or so, but I felt that making it was out of my reach because of the amount of restraint I imagined it required. Once I found myself making this music, it did not feel like a matter of restraint at all. I wanted to build a certain type of building, and hear certain types of movement, and I knew when it was complete. There was no place for sequences of notes and rhythms in my plans.

I also cannot overstate the role that being in my band played. I had previously spent 12 years programming and engineering my own music, and then spent a year and a half making music where my role was basically to write songs and play guitar. When the band’s recording phase was completed, I needed to go back to my adopted language. I had done enough with chords, rhythms, notes, defined sections, sharp transitions, etc.. What I needed was to create music from the ground up with nothing but sound, and have that music reflect “being” rather than “doing”. It was a therapeutic way of re-balancing myself, before and during my band’s mixing process.

This music seeks to just exist, and is not attempting to manipulate or grab the listener in any way. I believe it works well if one listens loud and focuses on it, but also works well at soft volumes and in the background. It can compete with silence on silence’s own terms, and it can also happily wipe silence out.

There are two versions of this album. The digital/CD version is called : I I . (pronounced “two”). This is the longer version. The vinyl version is called . I : (pronounced “one”), and is shorter, but contains one vinyl-only track. The reason the vinyl is shorter is that some of the tracks have sounds that can not be pressed on vinyl.

https://acidtestrecords.bandcamp.com/album/i