Beyond Metal: John Frusciante

 

 

The famous guitarist of Red Hot Chili Peppers, who almost ended up like Syd Barrett. A guitarist who, both consciously and unconsciously, also influenced my own playing style. I would characterize him as an unusual blend of Lo-Fi Experimental Grunge, Psychedelic / Acoustic Folk, Beach Pop, Sound Collage - in other words, the broad umbrella terms in Indie music.

John's rebellious nature led him to leave RHCP right after they became an international sensation (thanks in part to his work), as if his inner Punk prevented him from being a Rock Star. The real problem, however, likely laid in his drug use, which not only damaged his skin, including his arms (as seen in RHCP's "Californication" era videos), but also caused him the loss of teeth. This is what John looked like back then:

Released by American Recordings in 1994, "Niandra LaDes and Usually Just a T-Shirt" consisted of two parts: relatively song-based tracks that had been created over the years, with a strong emphasis on beautiful guitar melodies (as in the case of the legendary "My Smile is a Rifle"), and the more experimental "Untitled Tracks," where the motifs return, evolve, masturbate, go around in circles, creating an epic whole. The album was, of course, a commercial flop, but who the hell cares? Fortunately, it was reissued a couple of years later, which I'm personally happy about, as thanks to that I can say that I own it, as it was a kind of bible for me and a huge inspiration that, despite my best efforts, I couldn't hide in my own art. I don't recommend it, of course, because this type of music requires a certain level of reading - I'm not about to cast pearls before swine (I loved that this expression exists in both english, and polish).

As a supplement, "Estrus / Outside Space" (1997) single was released. The first track was reworked for the second album, while the second was an outtake that partially appeared as an outro to one of those experimental tracks. Good stuff. Over years I've had an opportunity to find some more unreleased songs, and each time it was a feast for me. That period was probably the purest and the most innocent creative-wise. Dark times ahead.

John's health was deteriorating at accelerated speed, and if not for luck, his second album would have been released posthumously. Sometime after its release, the man recovered and put himself back on track, while also returned back to the RHCP fold, who almost seem as they were waiting for him all along. "Smile From the Streets You Hold" (1997), released by the niche label Birdman Rec., is a much more extreme, experimental, and unlistenable album, and as a result, I adore it to death. I've never heard anything like it before, or ever since. While "Niandra" can still be accepted by some people, despite its character, "Smile" is practically hostile towards the listener, raping them with its depression, drugs, and nihilism.

You might not believe me, but I can sing "Enter a Uh" at karaoke bars. Anyone who's heard this song, knows why it might sound dubious. There are still some outtakes from previous sessions, as well as a few new compositions. My favorites are the immortal "For Air" and "Life's a Bath." Rumor has it that it was released to collect money for drugs. Probably so, but that factoid doesn't negate its artistry. I hope it gets reissued someday, because I definitely would like to be its proud owner. 

People unfamiliar with "outsider" music and accustomed to a more regular format, especially verse-chorus-verse, can skip the first two albums. For them, it'll be a complete mess, but frankly, such folks deseve a punch in the face (or something sharper). This isn't music for mainstream fans, though. These are things you have to experience for yourself in order to understand. 

During his return to RHCP, our John had completely sobered up, and although he still acted a bit haunted (by spirits), he got normal enough that his third album, "To Record Only Water for Ten Days" (2001, Warner Bros from now on), which I consider one of the best and most brilliant albums in music history, is fairly accessible and recommendable to regular people, and it wasn’t lacking in "hits." It marks the end of the musician’s first period, and although it still carries that Singer-Songwriter spirit, because it was made while sober, it is more conventional and melodic, less crazy and shouted. Just listen to "Going Inside," for example: 

 

During this time, John F. also published an enormous compilation online (21 songs) with outtakes from these sessions. I would like to point out that at the time it was still something innovative, after all, we are talking about 2001, still fresh after the Napster controversy. Because it was free, it was probably also the first thing I had a chance to discover from John (in 2004). I must admit that although I didn't know what to expect, I still wasn't ready for it. Frusciante's vocals require getting used to, because they are not, so to speak, conventional. His brilliant guitar made up for all the strange aspects that appeared. Moreover, after a few listens, they stopped annoying me. After all, few people can present such a wide range of emotions and feelings so smoothly.

After this contemporary, unnoticed masterpiece, there followed a 3-year silence, after which John returned with multiple force. Released in 2004, "Shadows Collide With People," with the help of frequent collaborator Josh Klinghoffer, already presents itself more as a band work than a solo one as before. Certainly because of this, it is one of the most liked albums in his discography by the general public. I would say, some tracks are awesome, but there is also a lot of boring, pretentious crap that also gradually began to dominate the artist's music over time.

He would be mistaken to think that this would be his only release in 2004, because right after the premiere, John announced that he intended to release 6 albums by the end of the year, a plan that almost succeeded, as the last one was delayed and came out at the beginning of 2005. This was a result of touring with RHCP, where the guy had practically over 70 songs written. It can be said that quitting his addictions increased his creative output. The lineup was as follows:

The Will to Death: a bit boring, eclectic, somewhat piano-driven, somewhat rock, introspective, and with a little help from the support band, though it sounds more like they're hustling around the house, making dinner. Not a very good start.

Automatic Writing: released as Ataxia. The Frusciante / Klinghoffer / Lally (Fugazi) project. 6-10 minute improvs, based on hypnotic bass. And I have to admit, I really liked it. It was one session, and the second part came out in 2007. Apparently, not only I liked it.

DC EP: 4 tracks, 14 minutes. Tracks that didn't fit anywhere (I kinda disagree), and which were mainly created using Ian MacKaye's equipment (also Fugazi). Not that it's really noticeable. It's hard not to call this release a 'rip-off.' Nothing interesting.

Inside of Emptiness: a return to Grunge, Alt Rock. Mixed feelings. There are a few good tracks that hold up (especially '666'), but even here John’s tiresome mannerisms show, and it’s a bit of chore to get through.

A Sphere in the Heart of Silence: another collabo with Klinghoffer, this time with the equal billing. An Electronic / Ambient album and a total revelation. Only 7 tracks, but each one blows my mind. Definitely something worth having. However, it cannot be denied that this is more of a Josh album than a John one.

Curtains: slightly delayed by a month, an album concluding an ambitious project. It's a folk album in the sense that it features acoustic guitars and so-called 'Chamber Folk.' It's definitely better than 'The Will of Death,' despite John's whining vocals, and it has a very personal and minimalist character. Not bad.

As can be seen from the above, in the long run, it would be better for Frusciante to take it a bit easy. As his sobriety increased, his pretentiousness grew equally, and the music lost that charm in favor of being exhausting.

After this bold experiment, there were several years of silence, after which Frusciante returned with "The Empyrean" in 2009. And once again, unfortunately, the worst flaws and vices of "The Will to Death" and "Curtains" were repeated. At this stage, I decided that I had had enough and no longer checked John’s further work, confining myself to the years 1994–2001 and his first three albums. And that’s what I will stick to.

Cheers, till the next time.