Rockaxis.com review of TROWFTD
Last modified: 2:01:59 CET on 02 Sep, 2008 |
2001, Rockaxis.com (Chile),
thanks to Jordi Domenech Montane, for the translation
I've always though the Red Hot Chili Peppers have been a band that have enriched and have given quality to pop or mainstream music. Because they not only used the funky and hard sound, they also have united it with simpler and more comercial melodies, acoustic touches and Beatles-like riffs. Most part of that is without doubt John Frusciante's responsability, whom in this album, absolutely personal, shows his talents as guitarist and singer.
Generally the album shows Frusciante mixing the acoustic and electric guitars in a dense style, with many loud riffs, bizarre chords, sounds and parts composed not like solos, but more like strings in the instrument. There are exceptional songs, some more melodic, others are more "flying". About his voice, even though we can't say he's a very technical singer, he has an impressive wave getting to high and low tones with a lot of feeling. Even, if he ever does sound wrong, he still sounds good and it's just another feature in his particular and slightly nuts style. Moreover, the strings of the songs with synthethisers and programmed drums create a more profound ambient that goes all the way through the album.
The first song "Going Inside" starts with some intrigating acoustic guitars that get mixed with a psychotic playing that gives way to a sung part which is a little bit plain. "Someone's" is a very short song, with acoustic guitars so Frusciante can enjoy himself with melodies and different tones. In the slower and feeling-filled "The First Season", what happens is that even though it's traditional and pretty close to what a song composer could do, he uses electronic sound inside a parallel melody filled with density and melancholy, ending up with a wonderful and simple keyboard solo and cello strings. In the fourth song, "Wind Up Space", we start to get into one of the high points of the album, with a theme that has a strange feeling, in the parts that mix up with Frusciante's very high voice.
Generally they are simple songs, but with the right "make-up", very ingenious. So we go on with "Away and Anywhere", that brings us memories of a Neil Young riff, with a more mechanic vocal line and with a cadencious groove. "Remain" is a more psychodelic tune, with programmed drums, but like all songs the acoustic guitar is still the base, this time with a keyboard and synth strings which put it right near electronic music. "Fallout" is another one of the great songs, and personally one of those I liked most. Very simple, with a groove which is black-music like, but at the same time always having that folky feeling and the beautiful guitar strings.
The classis "Ramparts" is a beautiful piece where Frusciante shows his great composer talent where the guitar is taped in several takes, some acoustic and some electric. "With No One" continues the wave of "Wind Up Face" and "Fallout", with a touch that strangely reminds me of some of the sung parts in Brian Eno's albums. Lovely strings, that serve as a platform for a nostalgic voice -this time in various parts- and the usual parts of guitar.
The instrumental "Murderers" begins with saturated and programmed drums in which suddenly two acoustic guitars are inserted, one being the base and the other a great show of feelings with short tempos. He complements after with some ragey playing, to come back enriched with rare sounds. One of the best compositions in the bizarrely titled "To Record Only Water For Ten Days"
Then follow the song "Invisible Movement", song that makes us remember Peter Gabriel and "Representing" to find ourselves with the impressive "In Rime", another of the great compositions of this album, because of the sense, intensity and rarity it produces. To finish off the lovely "Saturation" and the happy "Moments Have You" which close an album that despite being very experimental, sounds coherent, convicent and with some songs that get to the core.
---Héctor Aravena
