John Frusciante

[zzzcorp]

Également grand fan de frusciante
My Smile Is A Rifle - de l album Niandra LaDes and Usually Just A T-Shirt
Est la chanson qui ma le plus retourné

[enguerran]

My Smile est limite dérangeante quand on sait dans quelles conditions et dans quel état elle a, et tout l'album, été enregistrée...

[zzzcorp]

alors la première partis de l album a été fais pendant l enregistrement de blood sugar frusciante n etais pas encore défoncé a l ero le reste de l album les untitleds par contre on ete fais pour payer sa came



The record can be split into two albums: Niandra LaDes is a tad more conventional structurally and was recorded during weekends at the same time as Blood Sex Sugar Magik in 1991. The second half, Usually Just A T-Shirt, is composed of more experimental untitled tracks, often short instrumentals, and was recorded after Frusciante's first departure from the Chili Peppers in 1992, and was only released at the urging of friends such as River Phoenix, Johnny Depp, Gibby Haynes and Flea.

[enguerran]

alors la première partis de l album a été fais pendant l enregistrement de blood sugar frusciante n etais pas encore défoncé a l ero le reste de l album les untitleds par contre on ete fais pour payer sa came

Et quand on écoute les deux derniers PBX et Letur Lefr on se demande s'il n'est pas retombé dedans car non seulement c'est de la merde mais en plus de ça il la vend...

[zzzcorp]

tu trouve que c est de la merde et bien pas moi

[enguerran]

En fait je comprends pas son trip electro sans queue ni tête, y'a même plus un pet de guitare

[Fire Julian]

Frusciante est un grand musicien, maintenant qu'ila montré son talent, I'l s'amuse en partant dans ses tripes, c'est sa musique après tout, ily a certainement une logique derrière tout ça ! quant à un retour dans le monde des camés, j'espère vraiment pas pour lui, et Kiedis le présente dans son autobiographie comme un mec qui a totalement raccroché. Après, le temps est passé depuis la parution, certaines choses ont pu se passer... M'a paru bien vu sur certaines photos récentes le maitre...

[stev16c]

I started being serious about following my dream to make electronic music, and to be my own engineer, five years ago. For the 10 years prior to that, I had been playing guitar along with a wide range of different types of programmed synthesizer and sample based music, emulating as best as I could, what I heard. I found that the languages machines forced programmers to think in had caused them to discover a new musical vocabulary. The various forms of electronically generated music, particularly in the last 22 years, have introduced many new principles of rhythm, melody, and harmony. I would learn what someone had programmed but their thought process eluded me. Programmers, particularly ones fluent on machines from the early 80s and/or tracker programs from the 90s, clearly had a theoretical foundation in their employ but it was not the theory I knew from pop/rock, jazz or classical. The hands relationship to the instrument accounts for so much of why musicians do what they do, and I had come to feel that in pop/rock my mind was often being overpowered by my hand, which I had a strong desire to correct. I was obsessed with music where machine intelligence and human intelligence seemed to be bouncing off one another, each expanding with the incorporation of what it received from the other.

In 2007 I started to learn how to program all the instruments we associate with Acid House music and some other hardware. For about 7 months I didn't record anything. Then I started recording, playing 10 or so synced machines through a small mixer into a CD burner. This was all experimental Acid House, my skills at making rock music playing no part in it whatsoever. I had lost interest in traditional songwriting and I was excited about finding new methods for creating music. I'd surround myself with machines, program one and then another and enjoy what was a fascinating process from beginning to end. I was so excited by the method of using numbers much in the same way I'd used my muscles all my life. Skills that had previously been applied by my subconscious were gradually becoming conscious, by virtue of having numerical theoretical means of thinking about rhythm, melody and sound.

Then I began a musical relationship with two friends, wherein I could do basically the same thing I had been doing in my living room, only with other people. This continues to be a band which is perfectly congruent with my nature.

Right after we started playing together I started using a computer. Initially it was just something to record what I was doing with hardware but it eventually became one of my main instruments. I gradually built up a studio ideally set up for the specific ways I work and think (this is a continual work in progress). The music I did at this stage was a more adventurous kind of instrumental Acid House than what I'd been doing onto CD, and by the time I recorded my second song on a computer, I was aware that Progressive Synth Pop was an accurate description of what I was doing. Acid was nevertheless the central musical style involved.

After a year or so on the computer, I occasionally began using my voice again. Prior to this, incorporating guitar and singing had posed a problem because I wanted to make music based on the rules, as I perceived them - inherent in the various kinds of electronic music I loved - and did not want to blend this with what I previously did with songwriting and guitar wherein many rules of pop/ rock music would then naturally be employed. If I'd attempted to blend the two at that time my electronics would have served as support to my songs, voice, and guitar. This idea was repugnant to me. Because I was so much more developed as a rock musician, rocks characteristics and rules would have dominated, thereby slowing down the rate at which I was discovering new things. To be clear, when I say rules, I mean the underlying principles and abstract phenomena which define a particular style, marking its boundaries and limits, within which exists an area proven to be worthy of human creative investigation.

I continued to write songs, but only when I had to out of necessity, because something had to be expressed that way. I no longer looked at songwriting as a craft to prolifically hone, as I had for so long. In these recent years, it is just something that happens sometimes, a natural thing, like breathing. At first, recording pre-written songs felt like a restriction, but I eventually found myself having acquired enough new work methods of my own and enough skill and speed at programming that when I recorded a pre-written song I had as much fun as when I made instrumentals. This is the point at which the tracks on Letur-Lefr were recorded. I was still steering clear of most rock music characteristics, but R&B and Hip Hop were blending well with the various types of music I was combining. R&B seemed to me a path through which to integrate my songwriting with my programming, being that I could do it in such a way that the song served as support for the things I was doing instrumentally - and not the other way around - which was very important to me.

As this phase passed, I began developing a concept for a new approach to playing guitar, which required regular practice. For the preceding couple of years, practice consisted of playing along with this or that Rave or Synth Pop record or whatever. I didn't see a point in developing my playing musculature-wise because there was no call for that kind of playing in my music. I originally was practicing in a disciplined manner because I wanted to play a specific way on my wife's second record. But I found an approach to the instrument, which was brand new for me, in which I saw a lot of room to grow. My main melodic electronic instrument being the MC-202, I had gone through a long period where my knowledge of guitar informed much of my 202 programming. But I had now reached a point where I thought as much like a 202ist as I did a guitarist, and my guitar playing was now being informed by my knowledge of the 202. I was using the muscles I was developing in a way completely divorced from the way I used them as a rock musician, partially because I switched to a different type of guitar (a Yamaha SG), but mainly because my musical ideas stemmed from my understanding of an instrument on which the choice of notes is not limited by the position of one's hand. So at this point guitar became fully integrated into my music. The combination of having a new approach to the instrument, combined with all the ways I was now well versed at processing sound, resulted in my having the same excitement about guitar that I had long had for my synths, sequencers and drum machines. This, and other factors, resulted in my being able to pick and choose specific musical principles from rock/pop to apply to my music, just as I had been applying specific aspects of every other type of music I love. I no longer had to be concerned with avoiding clichés because I just didn't think that way anymore. I had developed new habits which were taking me all kinds of new places, and the old habits were now foreign to me. Also the computer had now become an instrument for me, so Drum n' Bass (as well as a number of other styles I'd been reaching for) had now become fully integrated into my music. At this point, I also had begun to grasp the characteristics of engineering styles of the past, allowing me to combine aspects of old and modern styles of production just as I'd been combining different styles of music.

A few months into this period, I began the recording of PBX Funicular Intaglio Zone. For years I had just approached everything one song at a time, but my experience in production now allowed me to comfortably work within a record concept while remaining completely absorbed in the process. By this time, I had found the balance that I'd been searching for, wherein the presence of a vocal and the structure of a written song actually provided me with additional freedoms as a musician.

Aspects of PBX are the realization of combinations of styles of music I saw in my head many years ago, as potentials, but which I had no idea how to execute. I'm so happy that I've had the opportunity to focus exclusively on music for music’s sake, and also so thankful that I got to spend all those years active in the music business whilst keeping my head in music all the time. I was free to spend most of my time playing along with records, writing, and dreaming. I have so much gratitude for everyone who made that possible.

In summary, Acid served as a good starting point for me, very gradually leading me to be able to combine whatever styles of music I want, as a one man band.

- John

De john lui même.
Source : http://johnfrusciante.com/2012/07/09/my ... /#more-126

[enguerran]

Je comprends un peu sa démarche sans pour autant aimer ce qu'il a produit, mais si je comprends bien il n'est pas près d'en revenir le bougre...

[Darkrob88]

Qu'on aime ou qu'on aime pas, Frusciante a simplement compris que la musique doit vivre avec son temps. En effet, je pense que si le rock n'a plus vraiment sa place aujourd'hui dans les grandes chaines musicales, c'est parce qu'il reste trop " classique ". Les technologies avancent, et la musique avec. Avec ces nouvelles technologies, on peut faire de nouvelles sonorités inédit, Frusciante expérimente.
Peut-être qu'il va réussir à trouver un compromis entre guitare et sons électroniques ( et je pense que c'est largement possible, la guitare électrique n'était-elle pas déjà un compromis entre guitare acoustique et synthétiseurs ? )
C'est surement dans ce genre de musique que se trouve l'avenir du rock.

Je part un peu en hors sujet, mais sa me fait penser à cette musique : " Down the Road " de C2C. Cette musique a réussi à reprendre les codes des musiques d'aujourd'hui, en ré-injectant un petit côté blues. Peut-être que cette musique va ouvrir une nouvelle voie, un mélange de blues et d'électronique ... ?

Bref, tout sa pour dire que moi non plus je ne suis pas fan du Frusciante électro, mais c'est son choix, je pense qu'à ce stade de sa carrière il peut faire ce qu'il veut

[Fire Julian]

En tant que jeune, j'ai toujours été tiraillé entre ce que j'écoute, du bon vieux rock et hard rock des familles, teinté de funk et de blues, et par ce qu'écoutent mes amis, des gros sons électro assez étranges. Eh bien, comme le dit Darkrob88, down the road de C2C est un bon mélange de ces deux mondes, comme l'ensemble de l'univers créé par Shaka Ponk, où les riffs de gratte cotoient des gros samples au clavier, le tout avec une énergie... En studio, ça sonne électro, mais en live, avec l'énergie qu'ils ont, c'est une sacrée claque !

Bref, je suis d'accord, Frusciante essaie de faire vivre le rock avec son temps. Faut bien que quelqu'un de mondialement connu ouvre la voie, les petits groupes arriveront pas à percer seuls sinon !

[Prisca]

Ce topic est une vraie mine d'or sur Frusciante! Un ami vient tout juste de me faire découvrir ses albums solos et je dois dire que je suis scotchée... Certains titres sont épiques! J'ai pas une oreille de pro pour pouvoir émettre un avis très technique mais je me laisse tout simplement portée et c'est assez transcendant. ça me rappelle un peu l'effet qu'à eu la voix de Jeff Buckley quand j'ai écouté son album pour la 1ère fois!!

[bardonj]

Je trouve murderers, omission

Prisca en parlant de jeff buckley je sais pas si t'as ecouter l'album Shadows collide with people mais le debut de everyperson ressemble vraiment a du jeff buckley !!!

Je suis d'accord avec vous pour le rock et son temps malheureusement pas le reste de mon groupe ><