And when you are in a popular band, it is particularly difficult to go beyond the parameters that you’ve established, and what it is that people like about you. When you are in a band, everybody thinks they know the best way to do things, and you can encounter opposition when you are trying to realize your creative ideas. I can trust my own creative instincts and what I hear in my head. The technology is there to liberate artists that already have a complete vision, and I’ve always been one of those people. But during the tour, mostly as a result of listening to people like Autechre, Venetian Snares, and AFX, I gradually realized that I wanted to be able to translate my ideas directly from my imagination into complete musical works, without filtering them through an engineer or other musicians. I had no interest in being a rock star for the rest of my life. Why did you decide to leave the Chili Peppers at a time that the band was massively successful?Īt the time we started our last tour, I thought that I would probably be happy to do it for another few years, but no longer. “I’ve felt freer doing this album than I have doing anything else.” “As long as the beat is hard and something that rappers will respond to creatively, the music can be literally any style you want,” he enthuses. Besides producing the albums, Frusciante wrote and recorded all the music, drawing on the same skills displayed on his solo recordings. Black Knights, the first of which, Medieval Chamber was released earlier this year. ![]() ![]() Amidst this cornucopia of aural delights there’s lots of inspired guitar playing, not least of all the ten-minute guitar solo on “Same”, which brilliantly crisscrosses continual chord modulations.įrusciante has also recorded three hip-hop albums with rappers Rugged Monk and Crisis, a.k.a. The music on these diverse discs ranges from adventurous but relatively accessible avant-pop songs to a sort of progressive electronica to largely atonal sonic constructions inspired by experimental jazz and 20th Century classical music. Those applications are evidenced on Frusciante’s three most recent solo releases, PBX Funicular Intaglio Zone (2012), Outsides (2013), and 2014’s Enclosure – all released on the Record Collection label. I spent five years learning that language – about the same time it took me to learn how to play guitar – because I felt that it could have many applications besides the way it was already being used.” “They could make music without conventional theory or any of the technical prerequisites that we used to think were necessary, using nothing but sound. “It seemed to me that AFX, Venetian Snares, and other people who were adventurous with electronics had created a new musical vocabulary, a new way of conceiving music,” says Frusciante. And since parting ways with the Red Hot Chili Peppers six years ago, he has not only largely reinvented his approach to guitar playing, but also mastered the art of sample manipulation, and digital editing, and delved deeper into the world of modular synthesis, culminating in the establishment of a mostly one-man, composer-centric musical universe. Even while a member of one of the most successful rock bands in history, he mostly avoided the trappings of celebrity, instead spending up to ten hours a day playing the guitar or otherwise working on music, in service to his muse. ![]() John Frusciante couldn’t care less about fame – much less the attention, ego gratification, and other less-substantial rewards that typically accompany it.
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