30.06.2005., četvrtak
Hobo Magazin
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Evo nedavno izašli članak sa Johnom u kanadskom časopisu "Hobo" enjoy: John Frusciante is explaining to me the appeal of the musical notes that he decided not to play. It is a notion made even more compelling when considering that Frusciante is describing the music that he is the most proud of creating. "People have thought of a million ways of filling up space with guitars," he says, "but not that many people have had interesting ideas as far as ways of using space. So I felt like I had something to say in terms of silence." After joining the Red Hot Chili Peppers 16 years ago at the fledgling age of 18, it is ideas like this - speaking with silence - that have established Frusciante's reputation for an ever-outside-the-box approach to music. In a field that often teeters more towards celebrity than art, he has remained firmly entrenched on the creative end of his craft. Even still, I didn't expect to be discussing the topic of silence with him. It is not just because Frusciante's eccentric eloquence as a guitar player has provided much of the Red Hot for the Chili Peppers' sound over the years. And neither is it because...like you...I can still hear his Hendrix-esque reverse guitar solo from "Give It Away" readily reverberating in the further corners of my mind. No, the topic of silence is particularly surprising when considering John's current string of projects: six albums in six months. In this sense, it would seem that he has quite a lot to say. Frusciante's current set of releases- a series of solo efforts, collaborations, and sideprojects - comes on the heels of a highly productive run with the Chili Peppers, including their latest CD - By the Way, a huge world tour, a greatest hits collection, and a double live album. Whereas such effort would warrant a much-needed vacation for most, he seems thrilled to now have the time to manifest other ideas. In turn, John is beginning to prove himself prolific - in the Frank Zappa sense of the word. "I had a stock built up of about 70 songs from the last 3 years," he says by telephone from his home in Los Angeles, "not to mention lots of songs from before then." While John acknowledges Zappa as an appropriate model for such a high degree of productivity, he does so without considering the output level to be particularly unusual. "It doesn't seem especially fast," Frusciante says, "It's not like if you saw me in the studio I'd be going like you were pressing the fast forward button on the video recorder." In fact, when assessing the ambition of his album-a-month project, John also cites Black Sabbath's work ethic in the 70's as a fair comparison. "Their first album was done in a day, and there was a time when that was normal. I guess if there is anything to be learned from what I'm doing it is to remind people that it can be done." Yet more so than just the quantity, the quality of these new releases may even take Frusciante's most committed fans by surprise. Created with major contributions from the highly versatile Josh Klinghoffer (The Bicycle Thief, PJ Harvey), the collection is as multi-faceted as it is dense. Amongst the standouts is The Will to Death, a serene and poignant effort that John describes as a "small, very personal sounding album." In addition to the brilliant Leonard Cohen-style title track, Frusciante produces a fair amount of engaging and entirely soulful moments. In between the screech and shimmer of his guitar on the song ‘An Exercise' he sings, "Anyhow mistakes are what lead you through life/ down and out is only if you think up and in is right." Equally compelling is the album Automatic Writing, which has Frusciante, Klinghoffer, and Fugazi's Joe Lally constructing long and momentous soundscapes beneath John's introspective vocals. The album's final track - ‘Montreal' - is a hypnotic 13-minute venture into Mazzy Star moodiness that is likely to slip by as an unnoticed masterpiece in John's already accomplished career. All things considered, Frusciante doesn't seem too concerned with the listener's reaction, characterizing his detachment as the only way to really create the work that he envisions. "Sometimes when all you want is to make something perfect," he explains, "it is almost like you are taking the listener too much into consideration. I love ‘The Will to Death' so much thatif everybody in the world hated it...I'd still feel great about it." Looking back, Frusciante's first solo album - 1994's Niandra LaDes/Just a T-Shirt - essentially knocks on the door of music legend. Though the album had failed commercially upon its release, it has since endured to be a standout cult classic of the early 90's; a sort of Clockwork Orange of the Nirvana-era music renaissance. At a time when "alternative" was the buzzword of the day, Frusciante produced 25 sublime tracks that had vaulted so far beyond the mark that there is little else to compare it to. The Niandra LaDes/T-Shirt album was as exhilarating as it was abrasive, exhibiting a sound that was enigmatic, drug-addled, and entirely visceral. Ten years after it's original release, Frusciante reflects on it with a mix of pride and pain. "I love that record," he says, "that was where I found a niche for myself. My problem with that record is that I didn't know what was happening. It felt like some ghosts were playing music through me." In this sense, the album is often remembered as much for the exceptional circumstances of its creation as for the riveting sounds it rendered. After joining the Chili Peppers upon the untimely death of original guitarist Hillel Slovak a few years earlier, Frusciante began to grow increasingly weary of being in the public eye. "At that time I was doing the Blood Sugar Sex Magick album and tour," Frusciante recalls, "I didn't like the idea of my personality being free for the public to make whatever they wanted out of it....especially my music." This sense of alienation culminated in the now notorious incident while the Red Hot Chili Peppers were on tour in Japan. Twenty-two years-old and playing guitar for a band that was exploding onto worldwide recognition, Frusciante abruptly quit, even as "Under the Bridge" was heading to #2 on the Billboard charts and the Chili Peppers were set to headline Lollapalooza at the peak of the festival's popularity. John soon retreated into an inspired delirium to finish the rest of the Niandra/T-Shirt album. "It felt like it was happening by luck. I was hearing all sorts of crazy voices in my head while I was recording and they would be telling me what to or what to try to do with my guitar." "Eventually it just started fizzling out," he says, "at the beginning it sounded like I was in a very happy state, but by the end it's the sound of somebody falling apart. He released his solo album in 1994 on the advice of friends who were enamored with the results, and subsequently took a hiatus from playing any music whatsoever. From the outside, John seemed to be drifting in the direction of Syd Barret, the famed founding member of Pink Floyd who eventually crumbled under the combined weight of drugs, stardom and artistic genius. In the ensuing years of John's absence the Chili Peppers had some struggles of their own. Their first new album since his departure - One Hot Minute - fell far short of the success of Blood Sugar Sex Magick, and marked a point at which many fans lost their taste for the Peppers. The backlash can, of course, be contributed to some varying factors. Perhaps it was the awkward fit of Jane's Addiction's Dave Navarro as John's replacement; or more likely, just resistance to the band's noticeable efforts towards settling into maturity. Either way, the album lacked the live wire crash that has always characterized the Chili's sound. Even under the ferocious funk of Flea's bass, something was missing. More so than any particular song or guitar arrangement, Frusciante's absence from the band had indeed been a silence that spoke volumes. Later, when John finally re-joined the Chili Peppers in 1997, the weight of his presence quickly came back into focus with the release of Californication. Hearing the first 30 seconds of the album's thump and holler evaporate into Frusciante's frantic vein of notes, it was hard not to comment on his return; after all, the adjectives ‘Red Hot' suddenly felt appropriate once again. "I'm really proud of the way that I played guitar on Californication," he explains, "That's the sort of playing that is important that I've done. My favorite song is ‘This Velvet Glove.' I love it as a song and I love the guitar playing in it." Californication has endured to be the band's most successful album to date, keeping the Chili Peppers upright as more than a few of their contemporaries fall by the wayside. Even still, a backlash lingers around the Chili Peppers for departing from the rascal punk antics of "their early stuff"; a perspective which John acknowledges with a laugh, "I mean...don't you think it's a little ridiculous for 41 year-old guys to run around on stage with socks on their dick?" That said, the topic of evolution is a perennial that has - and continues to - factor into John's thought process. "I feel bad for people when I see that they can't change," he says, "The only reason I'm interested in being in a band with Flea and Anthony is because they're more open-minded now; they're into going to any lengths to be different from what we've done in the past." In mind then of his current slew of new material, it is certainly curious to consider what Frusciante has in store for the future. At a mere 35 years-old, the prolific nature of John's past few years implies a sort of momentum which is likely to render even more quality material in the days ahead. "In terms of my relationship to my creativity, I feel that I'm in the driver's seat," he says, "My hats off to every spirit that had helped me with my music. I learned a lot from them, and I'm trying to use those lessons to make new music." |
- 11:15 - Napiši nešto! (3) - Pokaži drugima! - Šalji dalje do...
27.06.2005., ponedjeljak
Možda je možda nije, ko zna...
Ma evo naletija san na ovaj LINK na kojem piše da će se novi album Red Hot Chili Peppersa zvat The Never-ending Yellow Light. Jel to točno ili ne, vrijeme će pokazati al tko ne riskira ne profitira, ali mislim da su male šanse da je ovo pravo ime albuma, iako je datum točan...Toliko EDIT: 27.6> Potvrđeno je sa Johnove strane da album izlazi u 10. mjesec ove godine, i to 5og ili 6og 10 a singl je najavljen za 11.10 ;) Rock on! |
- 00:55 - Napiši nešto! (7) - Pokaži drugima! - Šalji dalje do...
16.06.2005., četvrtak
Poraz
Sinoć tj 14.06 se održala LA Weekly dodjela nagrada, ali John je nažalost ostao praznih ruku. Iako znamo da Johnu nije stalo do nagrada, ipak ne vidim kako netko (Petra Halden pobjednica u kategoriji BEST HOME 4-, 8-, OR 16-TRACK RECORDING) tko obradi album tj napravi covere može dobit nagradu, a netko poput Johna koji izda 6 albuma u 6 mjeseci ostat praznih ruku. Ipak, još jedamput je dokazano kako politika vlada a ne zdrav razum. Toliko o tome nažalost.Kao što vidite malo sam redizajnirao blog, nadam se da vam se sada brže učitava, a također sam dodao nove slike u galeriju. Pošto ne bih smio imat te slike na blogu, jer s zaštićene autorskim pravima, reći ću samo da su slike na dnu galerije (ne bih smio spomenit o kojim se slikama radi). hehe kojim se sve mi mutnim poslovima bavimo... eh... Uspio sam nabavit jedan od 3 clipa sa ATP festivala, nažalost za preostala dva je istekao rok downloadanja pa čekam(o) da ih vlasnik ponovo uploada, a kad se to dogodi budem malo više pisao o tome, jer uskoro izlazi full DVD izdanje ATP festivala. Šta još reć... više ne znam ni sam, ma ništa stojte mi dobro i priključite se na JF forum, link je tatrane ;) Pozdrav! EDIT: evo sazna sam da prvi singl novog RHCP albuma izlazi 11. listopada ;) |
- 12:32 - Napiši nešto! (1) - Pokaži drugima! - Šalji dalje do...
13.06.2005., ponedjeljak
Oprema na albumima
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prije nego šta išta kažem, moram kazat kako je sutra dodjela nagrada i svi se nadamo da će i John ubrat onu svoju... evo naša san nešto zanimljivo pa za sve fanove: Curtains: Ampex 8-track 1970’s O-15 Martin 1940’s O-18 Martin 1940’s Martin 12-String 1940’s Neumann KM54 Microphone (Guitar) Telefunken 250 Microphone (Vocals) Inside Of Emptiness: 1969 Gibson Les Paul Vox AC15 Shure SM-57 Microphone (Amplifier) Neve 8088 Console (Tracked through this console) Studer A-800 Analog Tape Deck · Josh Klinghoffer tracked Emptiness live through a Neve 8088 console to a Studer A-800 analog tape deck, after replacing the Studer's 24-track headstack with a 16-track version. Shadows Collide With People: Tascam 488 MKII 8-Track cassette recorder (Demo) Neve Desk + Analog 24-Track (Recorded using a …) Scully 8-track (Drums) To Record Only Water For Ten Days: Clavia Nord Lead 2 Casio SK-2 Akai MPC3000 The Will To Death: 1630 [U-Matic] tape (Music mastered on…) Minimoog Doepfer A100 modular synthesizer General Equiptment: API Desk 1972 1-Inch Ampex 8-track recorder 1970 Six old 1176 compressors: · A Fairchild · Three Lang equalizers [a PEQ4 and two PEQ2s] · Two Pultec [EQP-IA3] equalizers · An EMT plate reverb · An EMT 250 digital reverb. Studer A800 24-track recorder Synthesizers: Doepfer A100 modular synthesizer Mellotron Minimoog 1970 ARP 2500 Recent Recording Instruments: Chamberlain Moog Voyager Arp String Ensemble Korg MS10 Late-1970s Synare analog drum synthesizer Frusciante's Production Notes: The following are Frusciante's comments regarding the production of selected tracks from two of his solo CDs. Shadows Collide With People "Carvel." "The opening section of that track was made by messing around with the Doepfer A100 and creating what sounds like electronic cueing. I put the Minimoog through an echo and played the melody that you can hear on that." "-00 Ghost 27." "I'd been listening to an experimental electronic album at my house. I can't remember what it was, but two seconds of it stirred my mind. It sounded like a Mellotron choir through a really distorted, screaming, feedbacky sinth. I wnt into the studio the next day to try to re-create what I thought I had heard. I had a Mellotron choir sound on an E-mu module, and I put it through the Doepger. You take an audio signal and use it to control a filter and dial knobs in a way that creates screaming feedback. It was one of those moments when music descends upon you." "Regret." "I put my voice through the Minimoog on this song. That's an LFO controlling a filter on the Minimoog. Our normal way of doing things is if I'm treating myself, I'll susally record the vocal, do a send from the board, treat it, and then send it back onto tape." "Omission." "I put Josh's voice through a VCA and had the LFO opening and closing that VCA really fast on the Doepfer." The Will to Death "A Doubt." "That really distorted guitar comes in at the end has been put through the Doepfer. That's the best fuzz tone I've ver had. It's so dirty and fucked-up sounding, and it's from playing the guitar through a synthesizer." "An Exercise." "The bubbling, feedbacklike, squelchy sound at the end is an example of the ways you can generate feedback by running the audio of a filter on the Doepfer and then back into the same filter. You get feedback, and you can control it with the knobs to get it just right. It's one of my favourite sounds." "Loss." "Josh plays organ at the end, which is going through my Doepger, making it sound like feedback. It's like the organ has whammy bar and is going through a Marshall stack. We often do this: he'll play an instrument and I'll treat it with a synthsizer simultaneously." "A Loop." "The snare drum is going through the Doepfer, and there are also some backward guitar. We just turned the 2-inch tape over, and I soloed over the track two or three times. Then we turned the tape back again, and I soloed over that." LIVE EQUIPMENT Line 6 DL4 Delay (green) Line 6 FM4 Filter MXR Micro Amp x2 Ibanez WH10 x2 Boss chorus ensamble CE-1 with iron case EH Big Muff USA x2 (not Russian) EH Holy Grail reverb Fender reverb (60's) EH Electric Mistress Boss DS2 distortion x2 Boss master switch for second loop of pedals MXR Phase 90 Mooger Fooger 12 stage phaser Boss FV-50 volume Zachary Vex Fuzz Factory x2 Boss compressor/sustain AMPS Marshall Jubilee 100 for crunch Marshall Major 200 for clean VOX He uses Monster Cable. Jim Dunlop .60 tortex (orange) picks Levy Straps with schaller strap locks D'Addario strings (10's on Les Paul, Strats, Tele's, SG's but with a .11 for the high E string. 11's on his Mustang. 12's on his White Falcon, and 13's on his Gibson 175) Clearer List Of Guitars - Fender Stratocaster Vintage 1955 (maple neck), 2 tone sunburst - Fender Stratocaster Vintage 1962 (rosewood neck), 3 tone sunburst - Fender Jaguar Vintage 1962 fiesta red - Fender Telecaster Vintage 1963, 2 tone sunburst - Gretsch White Falcon Vintage 1957 - Gibson SG Vintage 1960 - Gibson Les Paul Vintage 1969 - Taylor 314ce (acoustic) - Martin 00-15 Vintage ~1940 (acoustic) |
- 12:07 - Napiši nešto! (0) - Pokaži drugima! - Šalji dalje do...
12.06.2005., nedjelja
Red Hot Chili Peppers završavaju novi album!
Donosim vam ekskluzivnu vijest i prvi postam ovako nešto na našim prostorima. Stoga osjećajte se počašćenim!Red Hot Chili Peppers završavaju svoj novi album u Los Angelesu. Bend, zajedno sa Rick Rubinom, pri samom su kraju snimanja novog albuma, te ovih dana snimaju vokale. "Na albumu ima težiš stvari nego ikada prije, ali i jako lijepih, uznošljivih melodija", kazao je a tko drugi nego John Frusciante koji pjesmu "Only 18" pripisuje kao sebi osobno najdražu. "Imam dojam kako su svi svoje instrumente ponjeli na novi level"- dodao je John. "Jako smo se trudili i stalno smo pokušavali biti koncentrirani na ovaj album" rekao je Flea, dodavši "I'm very in love with this record." "Na albumu ima jako puno sjebanih aspekata... kao i mana, te nečistoća koje ja osobno volim čuti na albumu". John i Flea malo su se odvojili od albuma zbog zakazanog nastupa u Silverlake Conservatory of Music koji će se održati ovaj četvrtak. Prvi zajednički nastup imat će sa Weezerom u LA-u 2.7. na 100tom rođendanu grada. Kako Flea kaže, fanovi će imati dodatni razlog dolaska u "Sin City": "Vjerovatno ćemo svirati neke nove stvari sa albuma" Pozdrav! |
- 22:45 - Napiši nešto! (6) - Pokaži drugima! - Šalji dalje do...
07.06.2005., utorak
Solo Trading
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Mars Volta, koja trenutno promovira koncertima diljem svijeta svoj novi album "Frances The Mute", nekidan su bili i u Geek, LA last Saturday tj u Los Angelesu... Uglavnom tijekom "L'Via L'Viaquez" pjesme sa novog albuma, na scenu se pridružio i John koji je tom prilikom odsvirao nekoliko soloa. Način na koji su članovi Mars Volte (prije svega Omar Roudrigez Lopez) i John svirali opisan je kao "Solo Trading". Trenutno nema slika sa Johnom (baš me zanima kako izgleda ovih dana :) ), ali one od Mars Volte možete naći pod ovim linkom koji, barem meni ne radi, ali probajte => "Koncert Mars Volte". Čim budu uploadane slike sa Johnom, ja ću ih stavit ovdje na blog, tako da se ne morate mučit s traženjem ;) Pozdrav! |
- 22:47 - Napiši nešto! (7) - Pokaži drugima! - Šalji dalje do...
04.06.2005., subota
Nominacija i nastup
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John Frusciante nominiran je za najbolju "HOME 4-, 8-, OR 16-TRACK RECORDING" i to za svih 6 albuma u LA Weekly Music Awardsu koji će se održati 14.6 ove godine, dakle uskoro. Među ostalim nominacijama nema nekih posebnih faca tj poznatih šta je još jedamput dokaz kako John ne iskorištava slavu koju je stekao u RHCPu. Možda, kako je bio i slučaj 2001., John možda bude imalo i mali solo nastup, no mi mu držimo palčeve da osvoji tu nagradu! Evo i ostalih nominacija: LIFETIME ACHIEVEMENT will be awarded to: Jeff Barry Brian Wilson Rodney Bingenheimer X BEST NEW ARTIST Gram Rabbit Angela Correa Inara George The Vacation Totally Radd! BEST HIP-HOP/RAP ARTIST/DJ Z-Trip Dakah 8-Bit Peanut Butter Wolf Saul Williams BEST ROCK BAND The Silversun Pickups The Willowz Tsar The Rolling Blackouts The Mojo Filters BEST CONTEMPORARY BLUES/R&B ARTIST Sy Smith Billy Miles Kim Hill Carlos Guitarlos Mary Dukes BEST COUNTRY/AMERICANA ARTIST The Idaho Falls The Blazers Kingsize Maybe Weed Patch BEST LATIN ARTIST Lupillo Rivera La Nacion Katia Moraes Quinto Sol Rudy Regalado y Chevere BEST WORLD MUSIC/RECOMBINANT ARTIST Mezklah GO: Organic Orchestra Rocky Dawuni Build An Ark Lian Ensemble BEST JAZZ ARTIST Rich West Jeff Gauthier Phil Ranelin KOLA Charles Owens BEST SINGER-SONGWRITER Tracy Spuehler Tom Brosseau Kip Boardman Anne McCue AM BEST PUNK/HARDCORE BAND The Mae Shi Civet Resistant Culture Ollin The Nervous Return BEST HARD ROCK/METAL BAND Isis A Perfect Circle Open Hand Sasquatch Year Future BEST POP/ROCK BAND The Randies The Sugarplastic The Movies Orson Marjorie Fair BEST NEW GENRE/UNCATEGORIZABLE ARTIST Rose For Bohdan Jon Hassell Soda & His Million Piece Band Lydia Lunch Steve Roden LATIN ROCK Los Abandoned Monte Carlo 76 Juguete Viernes 13 La Ley BEST ELECTRONIC EXPERIMENTAL ARTIST John Tejada Daedelus Dntel BT The Haters BEST ELECTRONIC DJ Juan Atkins Frosty/Dublab Claudette Sexy DJ DJ Irene Juan Nunez BEST CLASSICAL ARTIST Susan Allen Arroyo String Quartet LA Guitar Quartet The Section Quartet Christopher O’Riley BEST RADIO SHOW The Open Road, KCRW She Comes In Colours, KXLU Divine Forces Radio, KPFK Camp Freddy, Indie-103 Westside Radio, KDAY BEST HOME 4-, 8-, OR 16-TRACK RECORDING Ariel Pink’s Haunted Graffiti, "Worn Copy" Petra Haden, "Petra Haden Sings: The Who Sell Out" John Frusciante’s six-album cycle Silverlake Conservatory je američka glazbena škola koja će uskoro ugostiti Johna, koji će naravno imati mali koncert pred svim učenicima te ugledne glazbene škole. Također će nastupati Tracy Chapman, Charlie Haden, Grant-Lee Phillips i mnogi drugi, a karte će biti nevjerovatnih 200$! Datum nastupa još nije poznat, ali vjerujte da ćete biti prvi koji će ga saznati u hrvatskoj. Pozdrav! |
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