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2LP
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AVE66 015LP
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Limited repress. "After a year and a half writing and recording rock music, I needed to clear my head. I listened to and made music where things generally happen gradually rather than suddenly. I would set up patches on a Monomachine or Analog Four and listen to them, hearing one sound morph into others, making changes to a patch only after having listened for quite a while, gradually adding elements, and finally manipulating the sounds on the fly. All tracks were recorded live to CD burner, with no overdubs, and executed on one or two machines. While I was almost exclusively listening to artists such as Chris Watson, Peter Rehberg, Bernard Parmegiani, CM Von Hausswolff, Jana Winderen, Oren Ambarchi, Hazard, Bruce Gilbert, Klara Lewis, Ryoji Ikeda, and so on, I was also inspired by my mental image of John Lennon's tape and mellotron experiments he made at home during his time in the Beatles, as well as events like the first minute of Bowie's Station To Station, '...And The Gods Made Love' by Jimi Hendrix, the synths in the song 'Mass Production' by Iggy Pop, and the general idea of Eno's initial concept of ambient music. Music being a solitary sculpture in sonic space was the main motivating thought. I was looking at pictures of sculptures and trying to make music that simultaneously conveyed both movement and stillness. I refrained from sudden musical changes, especially avoiding sequences of notes and rhythms. In fact, this music was made from sequences which never exceed a single note, many of these pieces being made on a single pattern. The movement which a good sculptor conveys when the shape of his medium meets the eyes of the viewer who walks around the piece, or the sun changes its position, are the kinds of movement which it was the role of the synth patches to communicate . . . I also cannot overstate the role that being in my band played. I had previously spent 12 years programming and engineering my own music, and then spent a year and a half making music where my role was basically to write songs and play guitar. When the band's recording phase was completed, I needed to go back to my adopted language. I had done enough with chords, rhythms, notes, defined sections, sharp transitions, etc. What I needed was to create music from the ground up with nothing but sound, and have that music reflect 'being' rather than 'doing'. It was a therapeutic way of re-balancing myself, before and during my band's mixing process..." --John Frusciante
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2CD
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AVE66 016CD
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"After a year and a half writing and recording rock music, I needed to clear my head. I listened to and made music where things generally happen gradually rather than suddenly. I would set up patches on a Monomachine or Analog Four and listen to them, hearing one sound morph into others, making changes to a patch only after having listened for quite a while, gradually adding elements, and finally manipulating the sounds on the fly. All tracks were recorded live to CD burner, with no overdubs, and executed on one or two machines. While I was almost exclusively listening to artists such as Chris Watson, Peter Rehberg, Bernard Parmegiani, CM Von Hausswolff, Jana Winderen, Oren Ambarchi, Hazard, Bruce Gilbert, Klara Lewis, Ryoji Ikeda, and so on, I was also inspired by my mental image of John Lennon's tape and mellotron experiments he made at home during his time in the Beatles, as well as events like the first minute of Bowie's Station To Station, '...And The Gods Made Love' by Jimi Hendrix, the synths in the song 'Mass Production' by Iggy Pop, and the general idea of Eno's initial concept of ambient music. Music being a solitary sculpture in sonic space was the main motivating thought. I was looking at pictures of sculptures and trying to make music that simultaneously conveyed both movement and stillness. I refrained from sudden musical changes, especially avoiding sequences of notes and rhythms. In fact, this music was made from sequences which never exceed a single note, many of these pieces being made on a single pattern. The movement which a good sculptor conveys when the shape of his medium meets the eyes of the viewer who walks around the piece, or the sun changes its position, are the kinds of movement which it was the role of the synth patches to communicate . . . I also cannot overstate the role that being in my band played. I had previously spent 12 years programming and engineering my own music, and then spent a year and a half making music where my role was basically to write songs and play guitar. When the band's recording phase was completed, I needed to go back to my adopted language. I had done enough with chords, rhythms, notes, defined sections, sharp transitions, etc. What I needed was to create music from the ground up with nothing but sound, and have that music reflect 'being' rather than 'doing'. It was a therapeutic way of re-balancing myself, before and during my band's mixing process..." --John Frusciante
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2LP
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SV 076LP
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2024 repress. "Niandra LaDes And Usually Just A T-Shirt is the first solo record by John Frusciante. Between 1990 and 1992 the guitarist made a series of 4-track recordings, which at the time were not intended for commercial release. After leaving the band Red Hot Chili Peppers in 1992, Frusciante was encouraged by friends to release the material that he wrote in his spare time during the Blood Sugar Sex Magik sessions. Originally released on Rick Rubin's American Recordings label in 1994, Niandra LaDes is a mystifying work of tortured beauty. Frusciante plays various acoustic and electric guitars, experimenting with layers of vocals, piano and reverse tape effects. Channeling the ghosts of Syd Barrett and Skip Spence, his lyrics are at once utterly personal and willfully opaque. Frusciante's rapidfire, angular playing shows how key he was in the Chili Peppers' evolution away from their funk-rock roots. His cover of 'Big Takeover' perfectly deconstructs the Bad Brains original with laid-back tempo, twelve-string guitar and a fierce handle on melody. The album's second part -- thirteen untitled tracks that Frusciante defines as one complete piece, 'Usually Just A T-Shirt' -- contains several instrumentals featuring his signature guitar style. Sparse phrasing, delicate counterpoint and ethereal textures recall Neu/Harmonia's Michael Rother or The Durutti Column's Vini Reilly. On the front cover, Frusciante appears in 1920s drag -- a nod to Marcel Duchamp's alter-ego Rrose Sélavy -- which comes from Toni Oswald's film Desert in the Shape. This first-time vinyl release has been carefully remastered and approved by the artist. The double LP set is packaged with old style tip-on gatefold jacket and printed inner sleeves."
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12"
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ASD 027COL-EP
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Limited repress. John Frusciante's Foregrow doesn't sound like any Acid Test record, or any other record. After the unlikely alliance between the Los Angeles label and the iconoclastic Venice, CA musician, all bets are off. This one's truly a passage through night. Foregrow is a lurching, lysergic beauty which offers glimpses of his platinum pop instincts, but only behind the veil of true experimentalism.
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CD
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ASD 027CD
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John Frusciante's Foregrow EP doesn't sound like any Acid Test record -- or any record at all -- that's come before it. After the unlikely alliance between the Los Angeles label and the iconoclastic Venice, CA, musician on 2015's Trickfinger (AT 005CD/LP), all bets are off. This one's truly a passage through night. Frusciante uses elements of John Carpenter's eternal scores, the drum programming DNA of jungle and footwork, and, yes, a Roland TB-303, all slowed down to a crawl. The Foregrow EP is a lurching, lysergic beauty that offers glimpses of Frusciante's platinum pop instincts, but only behind the veil of true experimentalism.
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