JOHN FRUSCIANTE – A SPHERE IN THE HEART OF SILENCE –VINYL LP NEW FIRST ORIG PRES

	€		26
	$		30

JOHN FRUSCIANTE & JOSH KLINGHOFFER – A SPHEREIN THE HEART OF SILENCE –VINYL LP – MINT – NO REISSUE!

No reissue, this is a original copy, first pressing. Fromshop. Never played. New. With original insert. 

Label: Record Collection 48949-1

Yea of release: 2004

Tracklisting:

A1

Sphere

Programmed By, Noises [White Noise], Guitar [First Solo] – John* Strings [Arp Ensemble], Guitar [2nd Solo] – Josh*

8:29

A2

The Afterglow

Guitar, Bass, Synthesizer, Loops [Drum Loop] – Josh* Vocals, Vocals [Treatments] – John*

5:19

A3

Walls

Drums, Synthesizer [One Note], Backing Vocals – Josh* Programmed By, Lead Vocals, Strings [Synthetic], Drums [Treatments], Vocals [Treatments] – John*

6:19

B1

Communique

Piano, Vocals – Josh* Synthesizer – John*

6:55

B2

At Your Enemies

Programmed By, Synthesizer, Guitar – John* Synthesizer, Vocals, Bass – Josh*

4:23

B3

Surrogate People

Acoustic Guitar, Guitar [Lead], Vocals – John* Vocals, Bass, Drums, Synthesizer, Guitar [Lead] – Josh*

5:19

B4

My Life

Piano, Vocals – John*

1:35

Companies etc

• Phonographic Copyright (p) – Record Collection
• Copyright (c) – Record Collection
• Recorded At – Mad Dog Studios
• Recorded At – Cello Studios
• Mixed At – Cello Studios
• Mastered At – Bernie Grundman Mastering
• Published By – Niandra La Des Music
• Published By – Earl Gray Music

Credits

• Design – John Frusciante, Mike Piscitelli
• Engineer [Assistant], Mixed By [Assistant] – Chris Reynolds (2), Jason Gossman
• Engineer, Mixed By – Ryan Hewitt
• Management – Q-Prime*
• Mastered By – Bernie Grundman
• Other [Equipment] – Dave Lee
• Photography By – Lola Montes
• Producer – John Frusciante, Josh Klinghoffer
• Written-By – John Frusciante, Josh Klinghoffer

Who Plays What, Song By Song

Sphere
John - Programming, white noise, 1st guitar solo
Josh - Arp string ensemble, 2nd guitar solo

TheAfterglow
John - Vocals, vocal treatments
Josh - Guitar, basses, synthesizers, drum loop

Walls
John - Programming, lead vocal, synthetic strings, drum and vocal treatments
Josh - Drums, one note synth, backing vocals

Communique
Josh - Piano, vocal
John - Synthesizer

At YourEnemies
Josh - Synthesizer, vocals, bass
John - Programming, synthesizer, guitar

SurrogatePeople
Josh - Vocals, bass, drums, synthesizers, lead guitars
John - Acoustic guitar, vocals, lead guitars

My Life
John - Piano, vocals

Notes

Includesinsert sheet with credits.

Recorded at Mad Dog Studios April 9-11, 2004 and at Cello Studios April 14-15,2004.
Mixed at Cello Studios.
Mastered at Bernie Grundman Mastering Hollywood, CA.

©Niandra LaDes Music BMI / ©Earl Gray Songs ASCAP

©? 2004 Record Collection

The durations are not printed on the release.

Barcode and Other Identifiers

• Barcode: 0 9362-48949-1 9

Review

Many readers will no doubt be familiar with the ambitiousproject John Frusciante undertook in 2004, recording and releasing six albumswithin the space of six months. The majority of these releases more or lessadhered to John’s signature style of personal, guitar-based songwriting andwere of a consistently high quality. The secret weapon in his arsenal that madesuch a feat possible was his friend and protégé Josh Klinghoffer, whose dynamicdrumming provided the backbone to his sound. Additionally, Klinghoffer providedbass, keyboards, guitars and backing vocals to fully flesh out the songs andspeed up the recording process. What sets A Sphere in the Heart of Silenceapart is its strong electronic influences, and the fact that many of the songswere written by Josh, which adds to the highly experimental nature of thealbum. These factors also make it, unfortunately, the most overlooked record inthe series.

The instrumental opening track ‘Sphere’ goes a long way towards explaining why.It is a rather strange composition dominated by an erratic synth line thatcontinues throughout the entire song. It does contain some mildly interestingguitar playing roughly halfway through, but ultimately does little to justifyits eight and a half minute runtime, leaving the listener wondering whatexactly they’ve gotten themselves in for. This feeling doesn’t last longhowever, once ‘The Afterglow’ and ‘Walls’ kick the album into gear. ‘TheAfterglow’ in particular highlights Josh’s ability to merge numerousinterlocking elements to create something greater than the sum of its parts.Duelling guitars do battle over a driving drum loop, various synths come andgo, all while two basslines snake their way through everything else, coalescinginto a trippy, danceable mesh of aural ecstasy. ‘Walls’ takes a more directapproach, favouring rhythm over melody. A violent two-note synth loop holds theentire song together as more and more effects are stacked on and Frusciante’sscreaming increases the intensity to generate a truly mesmerising piece ofmusic. He is on top form vocally for both tracks, holding nothing back andshowing off his versatile range with perfectly controlled screams and ofcourse, his trademark falsetto. His lyrical subject matter is typical of hiswriting at the time, indulging his fascination with contradictory wordplay andthe themes of life and death.

Although ‘Walls’ does feature some minor backup singing from Josh, the firsttrue example of his vocal prowess comes in the form of haunting epic‘Communique’. His distinctively effeminate voice instantly pulls the listenerinto the ethereal atmosphere created by his piano playing and John’ssynthesised wind effects, a place where time stands still and all that mattersis ambience and emotion. His lyrics are rather more opaque than John’s, and hisheavy slurring makes most of what he sings indecipherable, but you’ll findyourself unable to care once the sound pulls you under. He uses his voicealmost like another instrument and manages to convey exactly what he is feelingdespite, or perhaps because of, the ambiguity of his words. This feeling spillsover into ‘At Your Enemies’, though the setting is transformed from atmosphericto subterranean by a hypnotic melody and driving bassline that exude thesensation of being deep underwater. Josh’s influence is slightly more dominantthan John’s throughout, and these two songs are perhaps the high point of theentire album.

While most of the record feels split between 'Josh’ songs and ‘John’ songs, italso excels when there is equal influence from both artists. The best exampleof this is the penultimate track ‘Surrogate People’. Josh lays the foundationwith his repetitive synth and vocal lines while John plays an intricateacoustic guitar part and provides beautiful vocal harmonies, the song slowlyevolving before both of them launch into simultaneous minimalist guitar solos.The only track with no input from Josh is album closer ‘My Life’, a simple 90second piano piece that serves its purpose but feels a tad uninspired incomparison to many of the other songs here.

A Sphere in the Heart of Silence is without doubt the black sheep ofFrusciante’s ‘six in six’ series. The overall vibe it gives is that this isJosh’s project, with a helping hand from John, rather than the other way round.Don’t get me wrong though, this is by no means a bad thing. Josh brings an auraof mystique to the music that isn’t present on the other albums and hisapproach gels tremendously well with John’s own. The album covers a vast numberof musical styles and moods while still managing to feel like a unified body ofwork. Due to its experimental tendencies, it may not appeal to all fans ofJohn’s more straightforward guitar-driven albums. However, those who seeksomething a little more esoteric, or fans of electronic music in general, willfind plenty to sink their teeth into here. Not all of the duo’s ideas stick, butoverall the hits far outweigh the misses. And when they hit, they reallyhit. Hard.

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