John Frusciante - Wikipedia

John Frusciante - Wikipedia https://en.wikipedia.
org/wiki/John_Frusciante
John Frusciante
John Anthony Frusciante (/fruːˈʃɑːnteɪ/ ( listen); born
John Frusciante
March 5, 1970) is an American musician, best known as the
guitarist for the Red Hot Chili Peppers across three stints since
1988. He has released 11 solo albums and 7 EPs, ranging in
style from acoustic guitar to electronic music.
Frusciante joined the Chili Peppers at the age of 18 after the

death of guitarist Hillel Slovak, and first appeared on their
album Mother's Milk (1989). His second album with the band,
Blood Sugar Sex Magik (1991), was their breakthrough
success. Overwhelmed by the band's newfound popularity, he
quit in 1992. He became a recluse and entered a period of
heroin addiction, during which he released his first solo
recordings: Niandra LaDes and Usually Just a T-Shirt (1994)
and Smile from the Streets You Hold (1997). In 1998, he
completed drug rehabilitation and rejoined the Chili Peppers,
taking them to major success with their albums
Californication (1999), By the Way (2002), and Stadium Frusciante performing in 2006
Arcadium (2006). Background information
Birth name John Anthony
Frusciante's solo work encompasses genres including
experimental rock, ambient music, and electronica. He Frusciante
released six albums in 2004, each exploring different genres Also known as Trickfinger
and recording techniques. In 2009, Frusciante released The Born March 5, 1970
Empyrean, which features Chili Peppers bassist Flea and
New York City,
guitarist Josh Klinghoffer and again parted ways with the Chilli
U.S.
Peppers before rejoining them in 2019. Frusciante also releases
acid house under the alias Trickfinger. With Klinghoffer and Genres Alternative rock ·
Joe Lally, he has released two albums as Ataxia. funk rock ·
electronic ·
Frusciante ranked number eighteen on Rolling Stone's 2003 experimental ·
list of the greatest guitarists of all time. He was inducted into
psychedelia
the Rock and Roll Hall of Fame as a member of the Red Hot
Chili Peppers in 2012. Occupation(s) Musician ·
songwriter
Instrument(s) Guitar · keyboards
Contents Years active 1988–present
Early life Labels Warner Bros. ·

Record Collection ·
Career
1988–1992: First term with the Red Hot Chili Peppers Birdman ·
1992: First departure from the Chili Peppers American ·
Neurotic Yell · Acid
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John Frusciante - Wikipedia https://en.wikipedia.org/wiki/John_Frusciante
1992–1997: Addiction and first solo albums Test

1998–2002: Rehabilitation and return to the Chili Member of Red Hot Chili
Peppers Peppers
2002–2007: The Mars Volta, 2004 recordings and
Stadium Arcadium Website johnfrusciante.com
2007–2009: Second departure from the Chili Peppers (http://johnfrusciant
and The Empyrean e.com)
2010–2019: Shift to electronic music
2019–present: Third tenure with the Chili Peppers
Collaborations with Omar Rodríguez-López
Musical style
Technique
Influences
Discography
References
External links
Early life
Frusciante was born in Queens, New York City, on March 5, 1970.[1] His father, John Augustus
Frusciante, is a Juilliard-trained pianist, who later became a lawyer and then circuit court judge in
Florida.[2] His mother, Gail Bruno, was a promising vocalist who gave up her career to be a stay-at-
home mother.[3] Frusciante is of Italian ancestry.[4]
Frusciante's family moved to Tucson, Arizona, and then Florida, where his father served as a
Broward County judge until October 2010.[5] His parents separated, and he and his mother moved
to Santa Monica, California.[3]
A year later, Frusciante and his mother moved to Mar Vista, Los Angeles, with his new stepfather,
who, he says, "really supported me and made me feel good about being an artist".[3] He became
involved in the Los Angeles punk rock scene. At age nine he became fixated on The Germs,
listening repeatedly to their album (GI). He would later use a non-standard tuning of his own
invention to play songs from the album single-finger barre.[3]
Frusciante began studying guitarists such as Jeff Beck, Jimmy Page, David Gilmour and Jimi
Hendrix at 11. He discovered Frank Zappa, whose work he would study for hours.[3] He dropped
out of high school at age 16 with the permission of his parents and upon completion of a
proficiency test.[6] With their support, he moved to Los Angeles to develop his musicianship.[6] He
began taking classes at the Guitar Institute of Technology, but turned to punching in without
actually attending and left shortly thereafter.[3]
Career
1988–1992: First term with the Red Hot Chili Peppers
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Frusciante discovered the Red Hot Chili Peppers around 1984 when his guitar instructor was
auditioning as a guitarist for them.[7] Frusciante attended a Red Hot Chili Peppers performance at
age 15 and rapidly became a devoted fan.[6] He idolized guitarist Hillel Slovak, familiarizing
himself with virtually all the guitar and bass parts from the Red Hot Chili Peppers' first three
records. He became acquainted with Slovak; the two spoke months before Slovak's death:[8]
Hillel asked me, "Would you still like the Chilis if they got so popular they played the
Forum?" I said, "No. It would ruin the whole thing. That's great about the band, the
audience feels no different from the band at all." There was this real kind of historical
vibe at their shows, none of the frustration that runs through the audience when they
jump around and can't get out of their seat. I didn't even watch the shows. I'd get so
excited that I'd flip around the slam pit the whole time. I really felt like a part of the
band, and all the sensitive people in the audience did too.
Frusciante became friends with former Dead Kennedys drummer D. H. Peligro in early 1988. They
jammed together, and Peligro invited his friend, Red Hot Chili Peppers bassist Flea. Frusciante and
Flea developed musical chemistry immediately, with Flea later acknowledging that might have
been the day he first played the bass riff to the future track "Nobody Weird Like Me".[9] Around the
same time, Frusciante intended to audition for Frank Zappa's band, but changed his mind as Zappa
strictly prohibited illegal drug use. Frusciante said, "I realized that I wanted to be a rock star, do
drugs and get girls, and that I wouldn't be able to do that if I was in Zappa's band."[3]
Slovak died of a heroin overdose in 1988. Red Hot Chili Peppers drummer Jack Irons, devastated,
left the group. Remaining members Flea and vocalist Anthony Kiedis recruited Peligro on drums
and DeWayne "Blackbyrd" McKnight, formerly of Parliament-Funkadelic, on guitar.[10] However,
McKnight failed to connect musically within the group. Flea proposed auditioning Frusciante,
whose intimate knowledge of the Red Hot Chili Peppers' repertoire impressed him. Flea and Kiedis
auditioned him and agreed that he would be a suitable replacement for McKnight.[11] When Flea
called Frusciante with the news of his acceptance, Frusciante ran through his house screaming with
joy and jumped on a wall, leaving permanent boot marks.[12] He was considering a contract with
Thelonious Monster at the time—and had been playing with the act for two weeks—but his
unanticipated reception into the Red Hot Chili Peppers prompted him to change his plans.[13]
Frusciante was not familiar with the funk genre of Red Hot Chili Peppers' sound, saying, "I wasn't
really a funk player before I joined the band. I learned everything I needed to know about how to
sound good with Flea by studying Hillel's playing and I just took it sideways from there."[14]
Several weeks into the band's new lineup, Peligro, whose performance was suffering due to
extreme drug abuse, was fired.[15] Soon after, Chad Smith was recruited as drummer and the new
lineup began recording their first album, Mother's Milk (1989). Frusciante focused on emulating
Slovak's style. Producer Michael Beinhorn disagreed with this approach and wanted Frusciante to
play with an uncharacteristic heavy metal tone, largely absent from the band's three preceding
records.[16] Frusciante and Beinhorn fought frequently over guitar tone and layering; Beinhorn
prevailed, as Frusciante felt pressured by his knowledge of the studio.[16] Kiedis recalls that
"[Beinhorn] wanted John to have a big, crunching, almost metal-sounding guitar tone whereas
before we always had some interesting acid-rock guitar tones as well as a lot of slinky, sexy, funky
guitar tones".[17]
The Chili Peppers collaborated with producer Rick Rubin for their second record with Frusciante,
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Blood Sugar Sex Magik (1991). Rubin felt that it was important to record the album in an
unorthodox setting and suggested an old Hollywood Hills mansion.[18] Frusciante, Kiedis and Flea
isolated themselves there for the duration of the recording. Frusciante and Flea seldom went
outside and spent most of their time smoking marijuana.[19] Around this time, Frusciante began a
side project with Flea and Jane's Addiction drummer Stephen Perkins, the Three Amoebas. They
recorded roughly 10 to 15 hours of material, which went unreleased.[8]
1992: First departure from the Chili Peppers
Blood Sugar Sex Magik reached number three on the Billboard charts and went on to sell 13
million copies worldwide.[20] The unexpected success turned the Red Hot Chili Peppers into rock
stars. Frusciante was blindsided by his newfound fame and struggled to cope. Soon after the
album's release, he began to develop a dislike for the band's popularity. He and Kiedis argued after
concerts: "John would say, 'We're too popular. I don't need to be at this level of success. I would
just be proud to be playing this music in clubs like you guys were doing two years ago.'"[21]
Frusciante later said that the band's rise to popularity was "too high, too far, too soon. Everything
seemed to be happening at once and I just couldn't cope with it."[22]
Frusciante also began to feel that destiny was leading him away from the band. When the Red Hot
Chili Peppers began their world tour, he started to hear voices in his head telling him "you won't
make it during the tour, you have to go now".[23] Frusciante admitted to having once taken great
pleasure in hedonism; however, "by the age of 20, I started doing it right and looking at it as an
artistic expression instead of a way of partying and screwing a bunch of girls. To balance it out, I
had to be extra-humble, extra-anti-rock star."[24] He refused to take the stage during a
performance at Tokyo's Club Quattro on May 7, 1992, telling his bandmates that he was leaving the
band. He was persuaded to perform but left for California the next morning.[12] "It was just
impossible for me to stay in the band any longer", he said. "It had come to the point where even
though they wanted me in the band, it felt like I was forced out of the band. Not by any members in
particular or management in particular, but just the direction it was going."[25] He was replaced by
former Jane's Addiction guitarist Dave Navarro.
In a 2015 interview, Cris Kirkwood said that following Frusciante's departure from the band in
1992, Frusciante auditioned for the Meat Puppets. Kirkwood said, "He showed up with his guitar
out of its case and barefoot. We were on a major label then, we just got signed, and those guys had
blown up to where they were at and John needed to get out. John gets to our pad and we started
getting ready to play and I said, 'You want to use my tuner?' He said, 'No, I'll bend it in.' It was so
far out. Then we jammed but it didn't come to anything. Maybe he wasn't in the right place and we
were a tight little unit. It just didn't quite happen but it could have worked."[26]
1992–1997: Addiction and first solo albums
Frusciante had developed serious drug habits while touring with the Chili Peppers; he said that
when he "found out that Flea was stoned out of his mind at every show, that inspired me to be a
pothead".[27] He used heroin and was on the verge of full-scale addiction. Upon returning to
California in 1992, Frusciante entered a deep depression, feeling that his life was over and that he
could no longer write music or play the guitar.[23] He spent the next three years in his Hollywood
Hills home, the walls of which were badly damaged and covered in graffiti.[28] During this time, his
friends Johnny Depp and Gibby Haynes went to his house and filmed a documentary short, Stuff,
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depicting the squalor in which he was living.[28] The house was eventually destroyed by a fire that
also destroyed Frusciante's vintage guitar collection and several recordings.[29]
Frusciante focused on painting, producing 4-track recordings he had made while working on Blood
Sugar Sex Magik and writing short stories and screenplays. To cope with his worsening
depression, Frusciante increased his heroin use and spiraled into a life-threatening
dependency.[30] His use of heroin to medicate his depression was a clear decision: "I was very sad,
and I was always happy when I was on drugs; therefore, I should be on drugs all the time. I was
never guilty—I was always really proud to be an addict."[31]
In 1993, Frusciante briefly performed with the band P, alongside Depp, the Butthole Surfers
frontman Gibby Haynes, the actor Sal Jenco, and the songwriter Bill Carter. The band often played
gigs at the Viper Room, including a performance with Flea on October 30, 1993. According to
Gibby Haynes, the band was performing their song "Michael Stipe" when outside the venue River
Phoenix was having seizures on the sidewalk.[32] Phoenix died in the early hours of October 31 of
heart failure, brought on by an overdose of cocaine and heroin at the age of 23.[33] In his book
Running with Monsters Bob Forrest wrote that River Phoenix and Frusciante spent the days
preceding Phoenix's death together on a drug binge, consuming cocaine and heroin without
sleeping for days.[34]
Frusciante released his first solo album, Niandra Lades and Usually Just a T-Shirt, in 1994.
Frusciante denied that it was recorded while he was on heroin,[35] saying it was released when he
was a heroin addict.[36] The album is an avant-garde composition whose initial purpose was a
spiritual and emotional expression: "I wrote [the record] because I was in a really big place in my
head—it was a huge, spiritual place telling me what to do. As long as I'm obeying those forces, it's
always going to be meaningful. I could be playing guitar and I could say 'Play something that
sucks,' and if I'm in that place, it's gonna be great. And it has nothing to do with me, except in ways
that can't be understood."[37] Niandra Lades and Usually Just a T-Shirt was released on Rick
Rubin's label American Recordings. Warner Bros., the Red Hot Chili Peppers' label, owned rights
to the album because of the leaving-artist clause in Frusciante's band contract. However, because
he was reclusive, the label handed the rights over to Rubin, who released the album at the urging of
Frusciante's friends.[38]
A 1996 article in the New Times LA described Frusciante as "a skeleton covered in thin skin" who
weighed little more than forty kilograms at the nadir of his addictions and nearly died from a blood
infection.[38] His arms were fiercely scarred from self-harming as well as improperly shooting
heroin and cocaine, leaving permanent abscesses.[24] Frusciante released his second solo album,
Smile from the Streets You Hold, in 1997. The album's first track, "Enter a Uh", is characterized by
cryptic lyrics and hysterical screeches. Frusciante also coughs throughout the track, showcasing his
deteriorating health. The album features Phoenix on "Height Down". Frusciante said he released
the album to get "drug money" and withdrew it from the market in 1999.[39]
1998–2002: Rehabilitation and return to the Chili Peppers
In late 1996, after more than five years of addiction to heroin, Frusciante went cold turkey.[40]
However, months later, he was still unable to break addictions to crack cocaine and alcohol.[41] In
January 1998, urged by his longtime friend Bob Forrest, Frusciante checked into Las Encinas, a
drug rehabilitation clinic in Pasadena.[41] He was diagnosed with a potentially lethal oral infection,
which could only be alleviated by removing his rotten teeth and replacing them with dental
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implants.[3] He also received skin grafts to help repair the abscesses on his ravaged arms.[28] About
a month later, Frusciante checked out of Las Encinas.[42]
Frusciante began living a more spiritual, ascetic lifestyle. He changed his diet, becoming more
health-conscious and began eating mostly unprocessed foods.[23] Through regular practice of
vipassana and yoga, he discovered the effect that self-discipline has on the body.[29] To maintain
his increased spiritual awareness and reduce distraction from his music, Frusciante decided to
abstain from sexual activity, stating, "I'm very well without it."[23] His attitude toward drug use
changed, saying:[30]
I don't need to take drugs. I feel so much more high all the time right now because of
the type of momentum that a person can get going when you really dedicate yourself to
something that you really love. I don't even consider doing them, they're completely
silly. Between my dedication to trying to constantly be a better musician and eating my
health foods and doing yoga, I feel so much more high than I did for the last few years
of doing drugs. At this point I'm the happiest person in the world. These things do not
fuck with me at all, and I'm so proud of that—you don't know how proud I am. It's such
a beautiful thing to be able to face life, to face yourself, without hiding behind drugs;
without having to have anger towards people who love you. There are people who are
scared of losing stuff, but you don't lose anything for any other reason than if you just
give up on yourself.
Despite his experience with addiction, Frusciante does not view his drug use as a "dark period" in
his life. He considers it a period of rebirth, during which he found himself and cleared his mind.[43]
Frusciante has since stopped practicing yoga due to its effects on his back, but he still tries to
meditate daily.[29]
In early 1998, the Red Hot Chili Peppers fired guitarist Dave Navarro and were on the verge of
breaking up. Flea told Kiedis, "The only way I could imagine carrying on is if we got John back in
the band."[44] With Frusciante free of his addictions and ailments, Kiedis and Flea thought it was
an appropriate time to invite him back. When Flea visited him at his home and asked him to rejoin
the band, Frusciante began sobbing and said "nothing would make me happier in the world".[42]
The group began recording their seventh album, Californication, released in 1999. Frusciante's
return restored a key component of the band's sound, as well as a healthy morale. He brought with
him his deep devotion to music, which affected the band's recording style during the album.[19]
Frusciante has frequently stated that his work on Californication was his favorite.[19]
During the Californication world tour, Frusciante continued to compose new material, much of
which would be released in 2001 on his third solo album To Record Only Water for Ten Days. The
album was stylistically unlike his previous records, less markedly stream-of-consciousness or
avant-garde. However, the lyrics were still very cryptic and its sound was notably stripped
down.[45] The songwriting and production of To Record Only Water for Ten Days were more
efficient and straightforward than on his previous recordings.[45] The album strayed from the
alternative rock he had just written with the Red Hot Chili Peppers on Californication, focusing
more on electronic and new wave elements.[46] In addition to his guitar work, Frusciante
experimented with a variety of synthesizers, a distinctive feature of the record.[46]
In 2001, Frusciante began recording his fourth album with Red Hot Chili Peppers, By the Way
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(2002); he considered the time to be among the happiest in his life.[19] He relished the chance the
album gave him to "keep writing better songs".[19] While working on By the Way, he also
composed most of what would become Shadows Collide with People, as well as the songs created
for the film The Brown Bunny.[47] His goal to improve his guitar playing on the album was largely
driven by a desire to emulate guitar players such as Johnny Marr, John McGeoch and Andy
Partridge. He wanted to listen to these musicians "who weren't just about technique but more
about textures", or as he put it, "people who used good chords".[19] The album marked Frusciante's
shift to a more group-minded mentality within the Red Hot Chili Peppers, viewing the band as a
cohesive unit rather than as four separate entities.[19]
2002–2007: The Mars Volta, 2004 recordings and Stadium Arcadium
Frusciante wrote and recorded a plethora of songs during and after

the By the Way tour. In February 2004, he started a side project with
Joe Lally of Fugazi and Josh Klinghoffer, called Ataxia. The group
was together for about two weeks, during which they recorded about
ninety minutes of material.[48][49] After two days in the recording
studio, they played two shows at the Knitting Factory in Hollywood,
and spent two more days in the studio before disbanding.[49] Later
that year, five songs provided by Frusciante appeared on The Brown
Bunny soundtrack.[50]
Frusciante released his fourth full-length solo album Shadows

Collide with People on February 24, 2004. This featured guest Frusciante in 2004
appearances from some of his friends, including Klinghoffer, and
bandmates Smith and Flea.[51] In June 2004, he announced that he
would be releasing six records over six months:[52] The Will to Death, Ataxia's Automatic Writing,
DC EP, Inside of Emptiness, A Sphere in the Heart of Silence and Curtains. With the release of
Curtains, Frusciante debuted his only music video of 2004, for the track "The Past Recedes". He
wanted to produce these records quickly and inexpensively on analog tape, avoiding modern studio
and computer-assisted recording processes.[53] Frusciante noted, "These six records were recorded
in a period of six months after coming home from touring with the Chili Peppers for one-and-a-half
years. I made a list of all the songs I had and they totaled about seventy. My objective was to record
as many songs as I could during the break that I had. In the midst of doing that, I was writing some
of my best songs, so some of these albums have as many new songs as old songs. It was definitely
the most productive time of my life."[54]
In early 2005, Frusciante entered the studio to work on his fifth studio album with the Red Hot
Chili Peppers, Stadium Arcadium. His guitar playing is dominant throughout the album, and he
provides backing vocals on most of the tracks. Although usually following a "less is more" style of
guitar playing,[55] he began using a full twenty-four track mixer for maximum effect.[56] In the
arrangements, he incorporates a wide array of sounds and playing styles, similar to the funk-
influenced Blood Sugar Sex Magik or the more melodic By the Way. He also changed his approach
to his playing, opting to contribute solos and let songs form from jam sessions. In an interview
from Guitar World, Frusciante explained how he approached his guitar solos for their album
Stadium Arcadium completely differently from those for their previous albums. On Blood Sugar
Sex Magik and Californication, Frusciante had a general idea how he wanted his guitar solos to
sound. For Stadium Arcadium, almost every guitar solo was completely improvised by Frusciante
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on the spot.[57] Several reviews have stressed that the influence

of Hendrix is evident in his solos on the album,[58] with
Frusciante himself backing this up.[59] He also expanded the
use of guitar effects throughout the album, and used various
other instruments such as the synthesizer and mellotron. He
worked continuously with Rubin over-dubbing guitar
progressions, changing harmonies and using all his technical
resources.[59]
Frusciante began a series of collaborations with friend Omar Frusciante with the Red Hot Chili
Rodríguez-López and his band the Mars Volta, by contributing Peppers in 2006
guitar and electronic instrumentation to song "Cicatriz ESP" off
their album De-Loused in the Comatorium.[60] He also
contributed guitar solos on their 2005 album Frances the Mute.[61] In 2006, he played guitar on
seven of the eight tracks on The Mars Volta's “Amputechture.”[62] In return, Rodríguez-López has
played on several of Frusciante's solo albums, as well as making a guest appearance on Stadium
Arcadium.[51][63][64]
2007–2009: Second departure from the Chili Peppers and The Empyrean
Ataxia released its second and final studio album, AW II in 2007. Following the Stadium Arcadium
tour (early May 2006 to late August 2007), the Red Hot Chili Peppers agreed to a hiatus of
indefinite length.[65] In early 2008, Anthony Kiedis finally confirmed this, citing exhaustion from
constant work since Californication as the main reason.[65] Frusciante quit the group on July 29,
2009,[66] but did not publicly announce his departure until December 2009, two months after the
band ended their hiatus in October 2009 and began work on their next album with Josh
Klinghoffer as their new guitarist.[67][68]
Frusciante's tenth solo album, The Empyrean, was released on January 20, 2009, through Record
Collection.[69] The record—a concept album—was in production between December 2006 and
March 2008.[69] The Empyrean features an array of musicians including Frusciante's Chili
Peppers bandmate Flea, friends Josh Klinghoffer and former Smiths guitarist Johnny Marr, as well
as guest musicians including Sonus Quartet and New Dimension Singers. Frusciante stated: "I'm
really happy with [the record] and I've listened to it a lot for the psychedelic experience it
provides," suggesting the album is "to be played as loud as possible and is suited to dark living
rooms late at night."[69]
2010–2019: Shift to electronic music
After leaving the Red Hot Chili Peppers, Frusciante focused on making electronic music. He
learned to program instruments associated with acid house, and wrote on his blog: "My skills at
making rock music [were] playing no part in it whatsoever. I had lost interest in traditional
songwriting and I was excited about finding new methods for creating music."[70] During this time,
Frusciante founded an electronic trio with Aaron Funk and Chris McDonald under the name Speed
Dealer Moms.[71][72] Their first EP was released in December 2010 on Planet Mu Records.[73]
Frusciante released an EP, Letur-Lefr, on July 17, 2012. As with his previous solo releases, it was
released through Record Collection Music.[74][75] It marked a clear departure from the guitar-
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driven sound of Frusciante's previous albums, with elements of abstract electronica, pop and hip
hop. On September 25, 2012, Frusciante released his ninth studio album, PBX Funicular Intaglio
Zone. Frusciante released an instrumental, "Wayne", on April 7, 2013, through his website. It was
written and dedicated to the memory of his late friend, former Red Hot Chili Peppers' tour chef
Wayne Forman.[76]
Outsides, Frusciante's fifth EP, was released in August 2013. That year, he produced and featured
on an album by the hip hop group Black Knights. Medieval Chamber, released on January 14,
2014.[77] Frusciante also became involved in Kimono Kult, a project including his wife Nicole
Turley, Omar Rodríguez-López, Teri Gender Bender (Le Butcherettes, Bosnian Rainbows), string
musician Laena Geronimo (Raw Geronimo) and guitarist Dante White (Dante Vs. Zombies, Starlite
Desperation). Their debut EP, Hiding in the Light was produced by Turley and was released on her
record label Neurotic Yell in March 2014. A track "Todo Menos El Dolor" was released on
SoundCloud on January 16. Having released "Scratch", a single recorded during the PBX Funicular
Intaglio Zone sessions, Frusciante released his tenth studio album, Enclosure, on April 8, 2014.[78]
In April 2015, Frusciante released his first album under the alias of Trickfinger. The album of the
same name is Frusciante's first experimenting with the acid house genre. He previously released an
EP, Sect In Sgt under this alias in 2012.
Acid Test Records announced on February 15, 2016, that Frusciante would release an EP of
electronic music on April 16, 2016, entitled Foregrow.[79] The EP was released on the 2016 Record
Store Day and comprised the title track, recorded for RZA's film The Man with the Iron Fists, and
three instrumental tracks.
On November 24, 2015, Frusciante announced that he was releasing free unreleased songs dating
from 2008 to 2013 on his official Bandcamp and SoundCloud pages. He also debunked the
interview about him retiring from the music industry, saying that his words were taken out of
context.[80] The announcement was made via Frusciante's rarely updated website in an open letter
titled "Hello audience,"[80] where Frusciante provides an in-depth response to the website that,
according to him, took his words out of context. He writes, "I also must clear something up. I
normally don't read my press, but I heard about this quote, recently taken out of context by some
lame website and made into a headline, in which I said 'I have no audience'. This has been
misinterpreted, and by no fault of the excellent journalist who interviewed me for the fine
publication Electronic Beats. ... Obviously I have a public audience. I am aware of them, and they
know who they are." He continues, "Reduced to a single sentence, it would have been accurate to
say that, at this point, I have no particular audience in mind while I am making music."[80]
On June 13, 2017, Frusciante, under the alias of Trickfinger, announced that he would be releasing
his second studio album Trickfinger II on September 8, 2017, on the label Acid Test. The six songs,
which were never intended to be released, were originally recorded in 2007.[81]
2019–present: Third tenure with the Chili Peppers
On December 15, 2019, the Red Hot Chili Peppers announced that Frusciante had rejoined,
replacing Klinghoffer.[82] They had been working a new album with Klinghoffer, but had made
little progress; Frusciante said: "Flea had put the idea [of rejoining] in my head and I was sitting
there with the guitar thinking that I hadn't written any rock music in so long. Could I still do
that?"[83] Frusciante reflected on his time with the band, and felt he had been too controlling; he
said: "If I just try to let them be themselves, rather than making my own visions the center of
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everything. It felt like if somehow any of us died leaving it the way it

was, it would be terrible."[84] In an interview, Klinghoffer said there
was no animosity around his exit: "It's absolutely John's place to be
in that band ... I'm happy that he's back with them."[85] Flea said that
"artistically, in terms of being able to speak the same [musical]
language, it was easier working with John".[86]
On February 8, 2020, Frusciante performed with the Chili Peppers

for the first time in 13 years, at a memorial service held by the Tony
Hawk Foundation for late film producer Andrew Burkle, son of
billionaire Ronald Burkle.[87] Frusciante said he had found it exciting
to play guitar again after having focused on electronic music in his
solo work for several years.[88] Unlimited Love, the Red Hot Chili
Peppers' twelfth studio album and their first with Frusciante in Frusciante performing with
sixteen years, was released on April 1, 2022.[89] On June 4, the Red Red Hot Chili Peppers in
Hot Chili Peppers began an international stadium tour.[90] 2022
In 2020, Frusciante released the albums Look Down, See Us and She
Smiles Because She Presses the Button,[91][92] and the instrumental electronic album Maya. He
said he had become less interested in singing and writing lyrics, and that he enjoyed "the back and
forth with machines and the computer".[93] Frusciante and Flea contributed a cover of "Not Great
Men" to a 2021 tribute album to Gang of Four, The Problem of Leisure: A Celebration of Andy Gill
and Gang of Four.[94]
Collaborations with Omar Rodríguez-López
Frusciante played guitar on five of The Mars Volta's studio albums, as well as Rodríguez-López's
solo albums Se Dice Bisonte, No Búfalo and Calibration (Is Pushing Luck and Key Too Far). He
also functioned as executive producer for Rodríguez-López's directorial film debut, The
Sentimental Engine Slayer. The film debuted at the Rotterdam Film Festival in February 2010.[95]
Along with work on the film, Frusciante and Rodríguez-López have released two collaborative
records in May 2010. The first is the album Omar Rodriguez Lopez & John Frusciante,[96] an
album with just the two of them, the other a quartet record, Sepulcros de Miel, consisting of
Rodríguez-López, Frusciante, Juan Alderete and Marcel Rodríguez-López.
In a 2012 interview with Blare Magazine, when asked about possible future collaborations with
Frusciante, Omar Rodríguez-López stated: "Maybe in the future, but John's in a different place
right now. He's in a place where he couldn't care less about putting things out or about something
being a product. He's living by different standards right now with a different philosophy, so he
doesn't want to be a part of anything that he knows is going to end up being a product. A Mars
Volta record definitely ends up being a product".[97]
Musical style
When the intellectual part of guitar playing Frusciante's musical style has evolved over the
overrides the spiritual, you don't get to course of his career. Although he received
extreme heights. moderate recognition for his early guitar
work, it was not until later in his career that
10 of 23 22/11/2022 13:06
music critics and guitarists alike began to fully

—John Frusciante (Rolling Stone, February recognize it: in October 2003, he was ranked
2007)[98] eighteenth in Rolling Stone's list of the "100
Greatest Guitarists of All Time".[98][99]
Frusciante attributes this recent recognition
to his shift in focus, stating that he chose an approach based on rhythmic patterns inspired by the
complexity of material Jimi Hendrix and Eddie Van Halen produced.[100] On earlier records,
however, much of his output was influenced by various underground punk and new wave
musicians.[19]
In general, his sound is also defined by an affinity for vintage guitars.

All the guitars that he owns, records, and tours with were made before
1970.[101] Frusciante uses the specific guitar that he finds appropriate
for a certain song. All of the guitars he owned before quitting the band
were destroyed when his house burned down in 1993.[102] The first
guitar he bought after rejoining the Chili Peppers was a 1962 red
Fender Jaguar.[102] His most-often used guitar, however, is a 1962
Sunburst Fender Stratocaster that was given to him as a gift from
Anthony Kiedis after Frusciante rejoined the Chili Peppers in 1998. He
has played this guitar on every album since rejoining the Chili
Peppers, and their ensuing tours.[102][103] He also owns a 1955 Fender
Stratocaster, his only Strat with a maple fretboard.[104] Frusciante's
most highly appraised instrument is a 1955 Gretsch White Falcon,
which he used twice per show for the songs Californication and
Otherside. In 2006 and 2007, he only used it for the latter song, saying Frusciante playing his
there was "no room for it", preferring multiple Stratocasters for the signature Fender
Stadium Arcadium tour.[103] Virtually all of Frusciante's acoustic Stratocaster
work is played with a 1950s Martin 0–15.[59][102]
After leaving the Red Hot Chili Peppers, he switched to using a Yamaha SG as his primary guitar
for his solo work.[105] "With the Yamaha SG, I could play along with guitar players who were
playing, say, Les Pauls, and feel like the sound matched what I was hearing on the record. ... People
like Robert Fripp, Mick Ronson, Tony Iommi, and particularly John McGeoch from Siouxsie and
the Banshees, who played a Yamaha SG, which is why I bought one in the first place".[106]
Frusciante has also noted his increased use of the Roland MC-202 for his electronic music, saying
that he was at the point "where I thought as much like a 202ist as I did a guitarist." The MC-202
has been his primary melodic instrument in his electronic music.[107]
With the Red Hot Chili Peppers, Frusciante provided backing vocals in a falsetto tenor, a style he
started on Blood Sugar Sex Magik. He thoroughly enjoyed his role in the Chili Peppers as backing
vocalist, and said that backing vocals are a "real art form".[108] Despite his commitment to the Chili
Peppers, he felt that his work with the band should remain separate from his solo projects. When
he returned to the Chili Peppers in 1998, Kiedis wanted the band to record "Living in Hell", a song
Frusciante had written several years before. Frusciante refused, feeling that the creative freedom
he needed for his solo projects would have conflicted with his role in the band.[108]
Technique
Frusciante's guitar playing employs emphasis on appropriate melody, tone, and structure rather
11 of 23 22/11/2022 13:06
than virtuosity. Although virtuoso influences can be heard throughout his career, he has said that
he often minimizes this.[109] He feels that in general, guitar mastery has not evolved much since
the 1960s and considers the greatest players of that decade unsurpassed.[109] When he was
growing up in the 1980s, many mainstream guitarists focused on speed. Because of this, he thinks
that the skills of many defiant new wave and punk guitarists were largely overlooked.[19] Therefore,
he accentuates the melodically driven technique of players such as Matthew Ashman of Bow Wow
Wow and Bernard Sumner of Joy Division as much as possible because he thinks that their style
has been overlooked and consequently underexplored.[19] Despite this, he considers himself a fan
of technique-driven guitarists like Randy Rhoads and Steve Vai, but represses an urge to emulate
their style: "People believe that by playing faster and creating new playing techniques you can
progress forward, but then they realize that emotionally they don't progress at all. They transmit
nothing to the people listening and they stay at where Hendrix was three decades ago. Something
like that happened to Vai in the 80s."[109] Believing that focusing only on "clean tones" is negative,
Frusciante developed an interest in playing with what he calls a "grimy" sound. As a result, he
considers it beneficial to "mistreat" his guitar and employ various forms of distortion when
soloing.[109] He also tries to break as many "stylistic boundaries" as he can to expand his musical
horizons. He thinks that much of the output from today's guitarists is unoriginal and that many of
his contemporaries "follow the rules with no risk".[109]
Frusciante has stated that he became serious about creating and engineering his electronic music
in 2007. As he progressed in enhancing his skills with electronic instruments and techniques, he
has stated that he felt comfortable with how R&B and hip hop music integrated into his work. He
has noted that these and other new techniques were all influences on his EP, Letur-Lefr.[107] PBX
Funicular Intaglio Zone was recorded while Frusciante looked to find new ways to play the guitar
with the new forms of music and production that he had been studying. In his blog post, "My
Recent History," he notes that "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."[107]
Frusciante's approach to album composition has changed. On his early recordings, he welcomed
sonic imperfections, noting that "even on [To Record Only Water for Ten Days] there are off-pitch
vocals and out-of-tune guitars."[110] However, on later albums such as Shadows Collide With
People, he pursued the opposite: "I just wanted everything to be perfect—I didn't want anything off
pitch, or off time, or any unintentional this or that."[110] Frusciante views songwriting as taking
time, and does not force it: "If a song wants to come to me, I'm always ready to receive it, but I
don't work at it."[23] Much of his solo material is first written on an acoustic or unamplified electric
guitar.[111][112] He also prefers to record his albums on analog tapes and other relatively primitive
equipment.[113] This preference stems from his belief that older equipment can speed up the
recording process, and that modern computerized recording technology gives only an illusion of
efficiency.[53] Frusciante tries to streamline the recording process as much as possible because he
thinks "music comes alive when [you] are creating it fast". He also enjoys the challenge of having to
record something in very few takes, and believes that when musicians are unable to handle the
pressure of having to record something quickly they often get frustrated or bogged down by
perfectionism.[113] With his focus on new styles of music, Frusciante describes having worked with
the computer as an instrument, and having found the ability to merge old and new production
techniques. He has noted that there has been a change in how he works on an album. In the past,
he would work on one song at a time, but with the new "Progressive Synth Pop" that he has been
working on, he feels much more comfortable to work within the album as a whole.[107] He
currently uses the music tracker Renoise as his main digital audio workstation along with some
drum machines, sequencers, and other hardware, along with his Doepfer, Arp, and other modular
12 of 23 22/11/2022 13:06
synthesizers.[114]
Influences
Frusciante's first major influence was Jimi Hendrix. He then saw the Red Hot Chili Peppers (at
that point, The was part of their name) in concert in 1985, after which their then-guitarist Hillel
Slovak became his second major influence, with Frusciante coming to idolize Slovak. Although
Hendrix and Slovak were arguably Frusciante's most profound influences, he was also inspired by
glam rock artists David Bowie, and T. Rex; as well as avant-garde acts such as Syd Barrett, Captain
Beefheart, the Residents, the Velvet Underground, Neu!, Frank Zappa, and Kraftwerk.[3][7][115][116]
Frusciante seems to be much influenced by progressive rock acts like Genesis, King Crimson, and
Yes, mentioning them in multiple interviews.[117][118] Frusciante wrote an essay for the Yes box set,
The Word Is Live, released in 2005.
So few groups celebrate musical freedom the way Yes did. The depth of their music is
still as shocking to me today as it was to me as a little kid. The format of a record
seemed limitless to them at the time of Close To The Edge or Tales From Topographic
Oceans. They were putting feelings on records that no one had ever come close to. And
no one has since.
— John Frusciante, Yes – The Word Is Live booklet.
He credits his inspiration for learning guitar to Greg Ginn, Pat Smear, and Joe Strummer, amongst
others.[98] As an adolescent, he began by focusing upon Hendrix, as well as bands like Public
Image Ltd., the Smiths, and XTC.[7][19] Frusciante's other major influence was John McGeoch of
Magazine and Siouxsie and the Banshees.[105][119] "[McGeoch] is such a guitarist I aspire to be. He
has a new brilliant idea for each song. I usually play on the stuff he does on Magazine's albums and
Siouxsie & the Banshees's like Juju".[120] He has also mentioned Steve Howe as his favorite
guitarist in his early teens.[121]
Frusciante explains which guitarists interest him by saying:
I like all kinds of guitar players, but it's people like the ones I just mentioned [Matthew
Ashman of Bow Wow Wow and Bernard Sumner of Joy Division] whose playing really
amazes me, and it's because of their ideas, it's because of what they thought. It's
because they approached the instrument differently than anybody else. It's people like
Keith Levene from Public Image and Daniel Ash in Bauhaus who are exploring the
possibilities of what you can do with the guitar, whereas other people seem like they're
just exploring what you can physically do, and that serves no interest to me
anymore.[122]
During the recording of Blood Sugar Sex Magik, Captain Beefheart and the acoustic, one-man
blues of Lead Belly and Robert Johnson, were among the most noteworthy influences.[123][124]
Frusciante cites R&B singer Brandy as a musical inspiration and admires her voice, calling it
"multidimensional" and "inspiring." In describing her voice and signature sound, he said, "You
can't hear [the elaborate harmonies] with your conscious; you have to hear her voice with your
13 of 23 22/11/2022 13:06
subconscious." He also mentioned that Brandy was the "main inspiration" behind the guitar work
on Red Hot Chili Peppers' 2006 album, Stadium Arcadium.[125]
On Californication and By the Way, Frusciante derived the technique of creating tonal texture
through chord patterns from post-punk guitarists Vini Reilly of the Durutti Column and John
McGeoch, and bands such as the Smiths, Fugazi and the Cure.[19][123] He originally intended By
the Way to be made up of "these punky, rough songs", drawing inspiration from early punk artists
such as the Germs and The Damned. However, this was discouraged by producer Rick Rubin, and
he instead built upon Californication's melodically-driven style.[126] During the recording of
Stadium Arcadium, he moved away from his new wave influences and concentrated on emulating
flashier guitar players such as Jimi Hendrix and Eddie Van Halen.[100]
Frusciante cites electronic music—in which the guitar is often completely absent—as an influence.
He has used his guitar to emulate the synthesizer melodies of Depeche Mode, the Human League
and Orchestral Manoeuvres in the Dark, drawing inspiration from how those acts "were playing in
a very minimal way, where every note means something new".[127] Frusciante's other electronic
influences include Peter Rehberg, Christian Fennesz and Ekkehard Ehlers.[7] His interests are
constantly changing, as he believes that without change he will no longer have any interest in
playing: "I'm always drawing inspiration from different kinds of music and playing guitar along
with records, and I go into each new album project with a preconceived idea of what styles I want
to combine."[110]
Discography
As a solo artist
▪ Niandra LaDes and Usually Just a T-Shirt (1994)

▪ Smile from the Streets You Hold (1997)
▪ To Record Only Water for Ten Days (2001)
▪ From The Sounds Inside (2004)
▪ Shadows Collide with People (2004)
▪ The Will to Death (2004)
▪ Inside of Emptiness (2004)
▪ Curtains (2005)
▪ The Empyrean (2009)
▪ PBX Funicular Intaglio Zone (2012)
▪ Enclosure (2014)
▪ Maya (2020)
as Trickfinger
▪ Trickfinger (2015)
▪ Trickfinger II (2017)
▪ Look Down, See Us (2020)
▪ She Smiles Because She Presses the Button (2020)
14 of 23 22/11/2022 13:06
Collaborations
▪ A Sphere in the Heart of Silence (2004; with Josh Klinghoffer)

▪ Omar Rodriguez Lopez & John Frusciante (2010; with Omar Rodríguez-López)
▪ Mahandini (2018; with Dewa Budjana featured on "Crowded" & "Zone")
▪ The Problem of Leisure: A Celebration of Andy Gill and Gang of Four (2021; with Flea on the
track "Not Great Men")
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Bibliography
▪ Apter, Jeff (2004). Fornication: The Red Hot Chili Peppers Story. Omnibus Press.
ISBN 1-84449-381-4.
▪ Kiedis, Anthony; Sloman, Larry (2004). Scar Tissue. Hyperion. ISBN 1-4013-0101-0.
22 of 23 22/11/2022 13:06
External links
▪ Official website (http://www.johnfrusciante.com)
▪ John Frusciante (https://www.imdb.com/name/nm0996889/) at IMDb
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Frusciante joined the Chili Peppers at the age of 18 after the

Early life Labels Warner Bros. ·

1992–1997: Addiction and first solo albums Test

1988–1992: First term with the Red Hot Chili Peppers

1992: First departure from the Chili Peppers

1992–1997: Addiction and first solo albums

1998–2002: Rehabilitation and return to the Chili Peppers

2002–2007: The Mars Volta, 2004 recordings and Stadium Arcadium

Frusciante wrote and recorded a plethora of songs during and after

Frusciante released his fourth full-length solo album Shadows

on the spot.[57] Several reviews have stressed that the influence

2010–2019: Shift to electronic music

2019–present: Third tenure with the Chili Peppers

everything. It felt like if somehow any of us died leaving it the way it

On February 8, 2020, Frusciante performed with the Chili Peppers

Collaborations with Omar Rodríguez-López

music critics and guitarists alike began to fully

In general, his sound is also defined by an affinity for vintage guitars.

— John Frusciante, Yes – The Word Is Live booklet.

Frusciante explains which guitarists interest him by saying:

▪ Niandra LaDes and Usually Just a T-Shirt (1994)

▪ A Sphere in the Heart of Silence (2004; with Josh Klinghoffer)

12. "Red Hot Chili Peppers" (https://web.archive.org/web/20071001091746/http://www.vh1.com/sh

70. "My Recent History" (https://web.archive.org/web/20130812050814/http://johnfrusciante.com/ar

96. sargenthouse. "Question thread" (https://web.archive.org/web/20130518020523/http://www.for

Retrieved from "https://en.wikipedia.org/w/index.php?title=John_Frusciante&oldid=1123170413"

This page was last edited on 22 November 2022, at 08:21 (UTC).

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