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Home / Entertainment / John Frusciante: Maya Album Review

John Frusciante: Maya Album Review



On paper, the repeated guitarist for the Red Hot Chili Peppers writing a song in praise of the UK’s mid-90s frenzy and jungle shots might seem like an odd proposition, but John Frusciante has a lot of experience in this field. With more than a dozen albums staged and sung under his own name, he has released electronic music under his alias Trickfinger at a steady clip since the launch of the acid-house-inspired project. in 2015. Actually, this isn’t even the first electronic album he released this year: An EP and a third album as Trickfinger came out in March and June respectively. MayaHowever, it marks the first time he has released an electronic music album as John Frusciante.

The album came via Planet Mu offhoot Timesig, founded by lead breakcore artist Venetian Snares ̵

1; whom Frusciante did on one of his earliest electronic excursions, collaborating as the Speed ​​Dealer Moms. in 2010. It was named after and dedicated to the cat of Frusciante, who until her death. steadfast studio companion. Frusciante sees this intimate dedication as the reason to release the record under her own name; however, his own personal relationship to the frenetic sound he emulates and extrapolating here certainly has some effect. Previously, he said that while playing guitar with Chili Peppers, he aspired to make electronic music. In the early 2000s, he frequently walked through the woods in LA trying to enjoy a scene he felt went through him in the ’90s when he was writing multi-platinum funk rock with Keidis and colleague. This album definitely carries a sweat of nightclub formation experiences. When his Trickfinger products were determined by near-clinical cleanliness (although there was a considerable range of sounds that they clump together), he fixed the upper edges. Maya.

The album fades as it progresses, from gently undulating breaks and a chic acidic bassline on the opening track “Brand E” to the elastic breakcore on “Zillion” and disintegrating concerts and “Anja Motherless” shattered drum set. Frusciante’s favorite Roland TB-303 – a misleading synthesizer synonymous with acid house and rave, and pivotal to those Trickfinger records – plays a supporting role as he plunges into flowery sampling and awarding Drama controls and releases. “Reach Out” immersed a 00s R&B staple in a hail of hail that paused between lull time and a double adrenaline shot. “Amethblowl” —the album’s main single and a standout cinematic piece — encapsulates the intricate tension at the heart of the recording, drawing out two minutes of malfunction traps and a majestic, repetitive bass. repeated, before a catastrophic cry for help caused the whole thing to collapse under a thunderous beating and deep bass.

Over the past half-decade, Frusciante has forged the more technical, hard-to-hear aspects of electronic music, giving you a new freedom of expression. Strongly developed melodies – such as the hypnotic scales of “Usbrup Pensul”, or the hilarious melee basslines of “Blind Aim” – give the album a blemish-motivating glee it moves forward with contagious renunciation. Perhaps more importantly, these touches also move Maya beyond the realm of admiration and into more valuable territory. The album features all the hallmarks of the era Frusciante apes, but offers engaging, thoughtful decor at every angle: A sudden retreat from the ballroom to the relaxation room midway through “Flying”; the g-funk soundtrack and sci-fi spike on “Pleasure Explanation.” In giving, this is as good a homage as any cat companion can hope for. The UK’s pink-dyed riders should also be honored.


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