Album Review: John Frusciante's The Empyrean

By Naheil Qudah
Reporter

You've heard John Frusciante's guitar work if you've listened to anything the Red Hot Chili Peppers recorded from 1989-1992, or after 1998. Yes, he is responsible for the funky guitar stylings on such classics as "Under the Bridge", "Suck My Kiss", "Can't Stop" and "Californication". But in addition to reaching fame with the popular funk-rock band and having an excellent head of hair, Frusciante is a widely respected standalone artist with ten solo albums under his belt. His latest album, The Empyrean, was digitally and physically released worldwide January 20 2009 with the exception of the U.S. where the album was physically released January 27 2009.

Lyrically, the album is a wonder. Frusciante stated on his public blog that The Empyrean [see definition] became a concept album as he wrote it, which means that each song contributes to a theme that the album is meant to embody. His words illustrate a relationship between the everyday and the divine, and the struggle for communication and understanding between the two.

The greatest part of his guitar work has always been that it hits you hard while maintaining a sense of beautiful simplicity. Over the years he's let loose a complicated solo now and again and shown extreme improvisation talent on stage, but on the whole his audible passion and the fitting timing of his notes are what give any track he touches a distinct essence I like to call "The Froosh".

I wish I could say the same about his voice. With the Chili Peppers, his harmonic vocals back front man Anthony Kiedis' aggressive and expressive vocals to produce a calm but powerful energy. On his own, Frusciante can't seem to muster up enough emotion to deliver the punch his lyrics convince me this album was meant to have.

BY THE NUMBERS:

1. Before The Beginning: The track is musically minimal, with a percussion section that remains steady in the face of chaotic guitar wails. Frusciante plays heavy riffs that accumulate energy and then lightly fade. It's a lengthy intro, but it also prepares you for the ebbs and flows that the following tracks provide.
2. Song To The Siren: This is a cover of a 1970 Tim Buckley song of the same name and is the only track on the record that Frusciante didn't write. Frusciante's version is melodic and moving, with the power to reduce his listener to a vulnerable child. However, it also brings forth a grievance that remains present throughout the rest of the album: turn down the reverb/echo effects on your vocals, John!
3. Unreachable: After two relatively tame tracks, this is where the album releases the listener into a roller coaster of emotion. It's a move toward momentum and it stays fresh by undergoing three sound changes, from laid-back to psychedelic to rhythmic funk.
4. God: What an uplifting sound! It's a calm tune with the distinct sound of fellow Chili Pepper, Flea, playing a mellow line on the bass.
5. Dark/Light: Just as you start to think the album is slightly repetitive, a realization half-way through the song leads into a hymn-like choir backed with another appearance by Flea (he appears on four tracks in the album). This second section of the song sounds great, but it lasts too long to be appreciated.
6. Heaven: A softer tune with strong character. The final line sung is the first place that I hear any semblance of raw emotion in Frusciante's vocals. They get better from this track on.
   
7. Enough of Me: This song (my favorite track on the album) contains a powerfully discordant guitar solo. The backing instruments in this song elevate toward an explosive ending.
   
8. Central: This is the only track that has considerable vocal energy, and it's not lacking in the department of instrumental energy either. This song gets you bobbing your head in agreement as Frusciante sings about the importance of understanding and appreciating the self. He closes off with another excellent solo.
9. One More of Me: What is this deep voice? This is not Frusciante's usual falsetto for sure. In keeping with the theme of the album, it sounds like it is a message coming from a greater place. The orchestra sneaks up on you and delivers an emotional background to Frusciante's steady vocals.
10. After the Ending: The sound of drums has been absent in the last two tracks, but this song (and in turn, the album) ends with one solitary beat. It's a powerful way to wrap up the celestial other-worldly sound that carried through from Track 1.

The album definitely builds energy as it goes, save for a few tempo drops with the tracks "Song to the Siren" and "Heaven". Each track reveals more meaning each time you hear it, and each track seems like an escalation of itself until the next one begins. The lyrics and music are excellent, illustrating a complex juxtaposition of dormancy with epiphany and expectation with delivery.

If you're a fan of good rock music, buy it and listen to it with an open mind. Don't expect to encounter the funky tunes you might hear on a Chili Peppers album, and don't wait for the common verse-chorus-verse-chorus-bridge-chorus song structure. Do expect well-written songs and the unmistakable sound of The Froosh.