Múlt héten John Frusciante volt Flea vendége, most Anthony Kiedissel beszélget a This Little Lightban. A témák természetesen a zene körül forognak, kettejük megismerkedése, az első Red Hot Chili Peppers koncert, csupán egyetlen dallal, Nina Hagen hatása, és természetesen szóba kerül John Frusciante is, találkozásuk és a köztük kialakult kreatív kapcsolat. Olvasom tovább >>
A Los Angeles Times készített egy hosszú interjút Flea-vel, amiben beszél többek között istenről, a saját podcastjéről, Anthony Kiedisről, John Frusciante-ról, és arról, hogy szerinte melyik a legjobb és a legrosszabb Red Hot Chili Peppers album.
I would say “Blood Sugar Sex Magik,” but there’s a couple tunes on there I don’t think should have gotten on in retrospect. “The Greeting Song” wasn’t good enough. “Californication” is pretty good top to bottom. I saw Adele a little while ago and she told me that was her favorite record of all time. That meant a lot to me because I’m a big Adele fan.
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.
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.
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.
