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| Doing his best impression of a Steve Kindlon yearbook photo. |
Whenever an established artist changes gears stylistically, it tends to draw criticism from even the most loyal fans. Whether it be Bob Dylan picking up an electric guitar, Neil Young throwing everyone a curveball for the majority of a decade, or, more recently, J. Tillman donning the moniker Father John Misty (foreshadowing?), they are invariably met with some degree of resistance from the existing fan base.
Some people chalk this phenomenon up to the artist "losing it" or selling out. Others adhere to the less cynical and more interesting proposal of Advanced Genius Theory, which posits that some artists are such geniuses that they eventually transcend the tastes and understanding of the rest of society. As an ardent John Frusciante fanboi, I choose to believe the latter, and I am singling out his 2012 EP Letur-Lefr as the turning point of his Advancement.
Some people chalk this phenomenon up to the artist "losing it" or selling out. Others adhere to the less cynical and more interesting proposal of Advanced Genius Theory, which posits that some artists are such geniuses that they eventually transcend the tastes and understanding of the rest of society. As an ardent John Frusciante fanboi, I choose to believe the latter, and I am singling out his 2012 EP Letur-Lefr as the turning point of his Advancement.
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| Good thing he's a musician and not a painter. |
The album opens with "In Your Eyes". Its bright, warbly intro reminds me of Frusciante's earlier solo album To Record Only Water For Ten Days, but much more polished and 3-dimensional. Rather than trying to hide the drum machine, he emphasizes it and makes full use of its abilities. Where he used to simulate synth-like tones and melodies with his guitar, he now unabashedly employs actual synthesizers. The most dramatic difference since TROWFTD is John's vastly improved vocal abilities. His trademark falsetto is in full force, accompanied here by back-up vocals from his wife, Nicole Turley (surprised I didn't say Josh?). The song changes gears halfway through, devolving into an electronic schizophrenic break-beat, before regaining composure. Fear not, guitar aficionados, there are licks to be had here, although they are low in the mix to start, but then gain prominence towards the end of the track.
The next song "909 Day" is the first hint of Wu-Tang influence on this EP, mostly drawing from Rza's trademark production prowess. John chops up vocal samples from films over quick flashes of rap vocals contributed by Rza, Leggezin Fin, Masia One (perhaps the most famous Canadian-Singaporean female rapper), and Kinetic 9. Rarely does he allow an MC to spit out a complete line, rather he pans from lyric to lyric. Clearly, he's treating the voice here just like any other instrument (a philosophy that I tend to be a proponent of). All this is bound together by a simple but beautiful synth melody that builds as the song goes on. Similarly, "Glowe" is a brief interlude track that combines trademark Frusciante tones with a frenetic drum-track and hand-claps. This all gives way to a synthesizer freak-out halfway through. This track, like the entire EP, really lends itself to headphones. There's so much going on here that it's nearly impossible to fully digest it on the first listen. Half-spoken vocals and hints of sound effects are sprinkled throughout.
The fourth track, "FM", is where John truly pays homage to Rza. The song begins with the latter's trademark sped up vocal samples (in this case, some creepy operatic caterwauling) and a raw, pounding drum-track. John manages to deftly parlay this intro into a familiar-sounding synth motif, providing a unique backdrop for the three-headed MC monster of Rza, Kinetic 9, and Rugged Monk to paint over. Rugged Monk and Kinetic 9 are basically Wu-Tang second cousins. Their brief, off-the-cuff rhymes are a fitting reminder of how many talented lyricists are operating outside of the mainstream. The real treats on this track are John's back-up vocals and the grooving guitar track that he lays down in the background. To me, it sounds like his interpretation of early-90s gangster rap guitar parts (see Dre, Dr.) Don't be disappointed in yourself if you missed it the first time, like the rest of Letur-Lefr this track is hard to completely digest in one sitting. For example, it took me a few listens to catch the sample movie line: "How's the tempo of the music, friend? Suit ya? Here's a melody just for you! One of my favorite tunes...", which seems to be a sarcastic jab at any potential detractors of his new-found musical direction.
The EP draws to a close with the more traditional-solo-Froosh sounds of "In My Light". This song features John's best vocals of the album. A swirling synth melody morphs into a funky, head-bobbing breakdown, before giving way to standard JF mainstays: hand-claps and gorgeous falsettos. John gracefully mixes in vocal samples and little guitar pieces to accent the main track. John described this track as the musical prequel to the album's first track, "In Your Eyes", into which it flows rather nicely. This Ouroboros-like construction causes Letur-Lefr to lend itself to repeated, looping listens; as does the short run-time.
To those of you who have listened to Letur-Lefr's full-length follow-up LP, PBX Funicular Intaglio Zone, it shouldn't be surprising that these tracks were recorded during the same sessions. Where Letur-Lefr hints at the direction John was headed at the time, PBX is a full indulgence. John explains that, during the recording of these albums, he finally became proficient enough with creating music from an electronic standpoint, whereas earlier he was still approaching music from a guitar-centric rock-based standpoint (to great effect, in my opinion). This may explain why the sound of these albums can be so jarring for die hard Froosh fans. Although he has always dabbled with electronic elements, such as on Shadows Collide With People and the 2004 collaboration with Josh Klinghoffer, A Sphere in the Heart of Silence, he was always approaching song construction as a rock guitarist. Now, John has full reign over a gamut of electronic instruments and production techniques, as well as the experience and knowledge to create his own musical structures that are no longer dependent on or derivative of traditional rock themes.
Frusciante calls his new music "progressive synth pop" (see the master-level essays on his website for a much more in-depth description of his process) which is an apt label as any, but fear not, he can still make sweet consensual love to guitar. His recent 10-minute guitar solo "Wayne" is a prime example of this. Reminiscent of Eddie Hazel on "Maggot Brain", John squeezes every bit of emotion out of his Fender as a tribute to his dead friend, Wayne Forman. Personally, I hope that John continues to grow and explore new musical techniques, but at the same time, it would be a terrible waste if he didn't occasionally tear it up on six strings, for old time's sake.
Like many people, I've always enjoyed a variety of musical styles. This eclecticism was rapidly accelerated with the aid of the internet. We're pretty much spoiled by the vast universe of music that is at our fingertips. Very few artists are able to become masters in multiple disciplines, but maybe technology can also accelerate an artist's advancement. There are so many tools and reference materials out there now to draw upon, that I can't help but think that a creative trajectory like John's may only be possible in our modern times. I hope he continues to explore new styles and techniques, while staying true to the soulful sounds that make his music so intoxicating and addictive. I'm very interested to see, two decades from now, whether John's recent albums are perceived as ahead of their time or unusual missteps. Based on pure fanboi optimism, I'm betting on the former; and if his own description of his upcoming album Outsides is accurate, John's music will continue to transform itself in bold new ways, while staying true to the pure, impish love of sound that makes him great.
Final Score: .88 Animals
The next song "909 Day" is the first hint of Wu-Tang influence on this EP, mostly drawing from Rza's trademark production prowess. John chops up vocal samples from films over quick flashes of rap vocals contributed by Rza, Leggezin Fin, Masia One (perhaps the most famous Canadian-Singaporean female rapper), and Kinetic 9. Rarely does he allow an MC to spit out a complete line, rather he pans from lyric to lyric. Clearly, he's treating the voice here just like any other instrument (a philosophy that I tend to be a proponent of). All this is bound together by a simple but beautiful synth melody that builds as the song goes on. Similarly, "Glowe" is a brief interlude track that combines trademark Frusciante tones with a frenetic drum-track and hand-claps. This all gives way to a synthesizer freak-out halfway through. This track, like the entire EP, really lends itself to headphones. There's so much going on here that it's nearly impossible to fully digest it on the first listen. Half-spoken vocals and hints of sound effects are sprinkled throughout.
The fourth track, "FM", is where John truly pays homage to Rza. The song begins with the latter's trademark sped up vocal samples (in this case, some creepy operatic caterwauling) and a raw, pounding drum-track. John manages to deftly parlay this intro into a familiar-sounding synth motif, providing a unique backdrop for the three-headed MC monster of Rza, Kinetic 9, and Rugged Monk to paint over. Rugged Monk and Kinetic 9 are basically Wu-Tang second cousins. Their brief, off-the-cuff rhymes are a fitting reminder of how many talented lyricists are operating outside of the mainstream. The real treats on this track are John's back-up vocals and the grooving guitar track that he lays down in the background. To me, it sounds like his interpretation of early-90s gangster rap guitar parts (see Dre, Dr.) Don't be disappointed in yourself if you missed it the first time, like the rest of Letur-Lefr this track is hard to completely digest in one sitting. For example, it took me a few listens to catch the sample movie line: "How's the tempo of the music, friend? Suit ya? Here's a melody just for you! One of my favorite tunes...", which seems to be a sarcastic jab at any potential detractors of his new-found musical direction.
The EP draws to a close with the more traditional-solo-Froosh sounds of "In My Light". This song features John's best vocals of the album. A swirling synth melody morphs into a funky, head-bobbing breakdown, before giving way to standard JF mainstays: hand-claps and gorgeous falsettos. John gracefully mixes in vocal samples and little guitar pieces to accent the main track. John described this track as the musical prequel to the album's first track, "In Your Eyes", into which it flows rather nicely. This Ouroboros-like construction causes Letur-Lefr to lend itself to repeated, looping listens; as does the short run-time.
To those of you who have listened to Letur-Lefr's full-length follow-up LP, PBX Funicular Intaglio Zone, it shouldn't be surprising that these tracks were recorded during the same sessions. Where Letur-Lefr hints at the direction John was headed at the time, PBX is a full indulgence. John explains that, during the recording of these albums, he finally became proficient enough with creating music from an electronic standpoint, whereas earlier he was still approaching music from a guitar-centric rock-based standpoint (to great effect, in my opinion). This may explain why the sound of these albums can be so jarring for die hard Froosh fans. Although he has always dabbled with electronic elements, such as on Shadows Collide With People and the 2004 collaboration with Josh Klinghoffer, A Sphere in the Heart of Silence, he was always approaching song construction as a rock guitarist. Now, John has full reign over a gamut of electronic instruments and production techniques, as well as the experience and knowledge to create his own musical structures that are no longer dependent on or derivative of traditional rock themes.
Frusciante calls his new music "progressive synth pop" (see the master-level essays on his website for a much more in-depth description of his process) which is an apt label as any, but fear not, he can still make sweet consensual love to guitar. His recent 10-minute guitar solo "Wayne" is a prime example of this. Reminiscent of Eddie Hazel on "Maggot Brain", John squeezes every bit of emotion out of his Fender as a tribute to his dead friend, Wayne Forman. Personally, I hope that John continues to grow and explore new musical techniques, but at the same time, it would be a terrible waste if he didn't occasionally tear it up on six strings, for old time's sake.
Like many people, I've always enjoyed a variety of musical styles. This eclecticism was rapidly accelerated with the aid of the internet. We're pretty much spoiled by the vast universe of music that is at our fingertips. Very few artists are able to become masters in multiple disciplines, but maybe technology can also accelerate an artist's advancement. There are so many tools and reference materials out there now to draw upon, that I can't help but think that a creative trajectory like John's may only be possible in our modern times. I hope he continues to explore new styles and techniques, while staying true to the soulful sounds that make his music so intoxicating and addictive. I'm very interested to see, two decades from now, whether John's recent albums are perceived as ahead of their time or unusual missteps. Based on pure fanboi optimism, I'm betting on the former; and if his own description of his upcoming album Outsides is accurate, John's music will continue to transform itself in bold new ways, while staying true to the pure, impish love of sound that makes him great.
Final Score: .88 Animals
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| John looking comfortable and relaxed with some more melanin-rich friends. |
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