Solo Releases

John takes a break from his RHCP duties and releases an album of abstract music. This is the longer version.

John takes a break from his RHCP duties and releases an album of abstract music. This is the shorter version.

The first release under John’s birth name in years, dedicated to his cat that had passed away.

Track is a part of the Music in Support of Black Mental Health compilation and cannot be purchased separately.

The third Trickfinger full-length release, the first one with an actual name.

The first Trickfinger EP and the first release that was not a single song or an outtake post-2015.

A noise track released only on Soundcloud in .aiff format. Upon being encoded to a lossy format, the track name is displayed as “03-pita-3-3”.

Instrumental mixes for the 2017 Black Knights’ album.

John’s second full-length record under the Trickfinger moniker.

A futuristic one-off digital release.

Instrumental mixes for the 2015 Black Knights’ album.

Record Store Day 2016 release. Songs were recorded in 2009 and the title track was previously background music in a film.

A less “busy” take on the song off Enclosure. Free to download on bandcamp or SoundCloud.

Track recorded in 2008. Free to download on bandcamp or SoundCloud.

The two musicians cover a song from Casa de mi Padre. Free to download on bandcamp or SoundCloud.

Songs recorded during various stages of development of JF’s studio and JF as an engineer. Free to download on bandcamp or SoundCloud.

Exactly what it says it is. Free to download on bandcamp or SoundCloud.

The first originally recorded Trickfinger track, originally put online elsewhere, as two tracks. Free to download on bandcamp or SoundCloud.

John’s first full-length under the Trickfinger moniker, an acid house record. The material dates back to 2008.

John’s final statement on the journey of blending traditional and uncommon songwriting together – dreamy, balanced and ethereal.

An EP consisting of a 10-minute solo and two abstract pieces of music; a modern take on free jazz.

John releases a solo track for Red Hot Chili Peppers’ tour chief who passed away in April 2013, and whom he would often dedicate his guitar solos to. The track is a long guitar solo, more or less.

Album recorded in 2011, combining styles of many aspects of music and, in John’s words, combining the more adventurous part of him with the pop part of him. A wild ride you would be crazy to miss, so give it a go!

Solo EP done in 2010, halfway between initial acid house experiments and eventual desired outcome that is PBX; featuring guest MCs and a vocalist, with an out of this world style combining elements of synth-pop, jungle, hip-hop, r’n’b…and, for the first time in 15 years, cover art drawn by the maestro himself.

Originally intended to be a track intended to replace Today on the updated iTunes release of The Empyrean, Here, Air somehow ended up as a standalone digital download of its own. Free to download on JF’s official site.

John’s complex, psychedelic and haunting 10th solo album, the first post-RHCP one, with collaborators ranking from a gospel choir to The Smiths’/Modest Mouse’s Johnny Marr.

The last album in the six albums in six months series – acoustic, melancholic, almost folksy. Carla Azar of Ednaswap/Autolux, Omar-Rodriguez Lopez and Ken Wild guest on it.

John’s fastest album to date, raw and distorted might as well be the first one to think of when someone who hasn’t followed his career and who’s a fan of Red Hot Chili Peppers asks what to start with. Some of the songs were inspired by Alistair Crowley’s life. Usual and occasional contributors are featured.

Recorded in the legendary Inner Ear studio in Washington DC (hence the name), produced by no other than the hardcore legend Ian MacKaye, this is John’s only album with no synths whatsoever as of last 15 years. He borrowed the gear as well; and worked with one of the in-house drummers.

The first album in the six albums in six months series. The title was inspired by niche, the music was recorded super-fast for 2 days in December 2003 and 3 days in January 2004. The result? Very, very retro; yet perfectly fitting.

John’s only full-produced studio album. Josh Klinghoffer appears on almost all tracks, Chad Smith drums throughout, Flea and Omar Rodriguez-Lopez play their part, too. Acoustic versions and demos were subsequently released online, free of charge.

Popular rock artists pay tribute to the Ramones. John’s track is hidden on the CD and it’s a surprisingly slow version of Today Your Love, Tomorrow The World from their debut self-titled album. Electric guitars are replaced with backing vocals, the acoustic guitar is subtle and quiet, making the song almost a-capella.

A selection of rough cuts from TROWFTD, Going Inside single and some other ttracks posted on John’s official site throughout August 2001 as a gift to fans; also sporting a name voted by fans and a cover made by fans. Nowadays it’s available as a free download on this website.

Released on John’s 31st birthday – which is a mere coincidence – this little collection of songs nicely compliments To Record Only Water For Ten Days’ only single, Going Inside.

John’s simplistic third album and the major label debut, recorded during and after the Californication tour and later accompanied with a mini-tour around USA and Europe. A solo album, with a capital S – all the songs are just John’s voice, guitars, synths and the drum machine. The title is a reference to purification.

John’s second solo album, often claimed to have been released solely for drug money, thus later withdrawn from the market. Features the late actor River Phoenix, on two songs, Well, I’ve Been and Height Down. It was released through David Katznelson’s Birdman Records. The cover art was designed by John himself.

Considered to be a rare and overpriced collectors’ item, this two-track EP was released sometime in 1997 in a very limited number of copies, through the Internet, as a prequel to Smile. The date set here is solely for organisation purposes and likely to be incorrect.

John’s solo debut, featuring some tracks already written while on the BSSM tour with RHCP. Avant-garde, lo-fi and haunting; nowadays it is regarded as a true gem; as it’s been widely recognised by critics.