Biography of John Frusciante. John Frusciante (Guitarist). Welcome to the John Frusciante thread. Shadows Collide With People and Curtains. Shadows Collide With People. Frusciante has an active solo career, having released eleven solo albums and five EPs; his recordings include elements ranging from experimental rock and ambient music to new.

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Codeless kext to force a specific driver (CDC-ACM) I'm wondering if there is a way to use a USB Modem (of Huawei E1550 species) on OS X in a generic manner, like a generic USB modem. The problem is that the OS won't recognise it as a legitimate CDC ACM device (which it is, but it doesn't advertise being such). MacOSX recognizes CDC(-ACM) devices (ie. Virtual COM port) without ANY extra driver. Just plug in the device. You'll see two objects under /dev for the single CDC device, for example. Debug CDC device on MAC OS X? Hi all, I'm trying to get a simple CDC ACM device working on my MAC. But i can't get Mac OS initialize the driver completely. It is surely something from my firmware but I can't point the problem. Here is the device descriptor as displayed by USB Probe.

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We'll be glad to assist you within our Weekly Questions Thread. Please ask for help by using the Submit a New Question button above.Community Resource Threads:- for new users and veterans alike, this is a community generated collection of our favorite resources pertaining to collecting, buying, selling, and anything relating to records.- a collection of sub-generated discussion posts centered around a specific piece of equipment or album pressing. For those who don't know, John Frusciante used to be a member of the Red Hot Chili Peppers. Although I am a huge fan and have a lot of love for the band, to me, John's solo work resonates on another level. I have listened to his material for over 10 years and to get a hold of this rare and original 2004 pressing makes it the most prized record in my collection.The Will to Death was recorded in one or two takes with collaborator Josh Klinghoffer (current member of RHCP), the reason has been described by John as a way of the music controlling the process and not the other way round. I hold it dear to my heart, and it was an incredible feeling dropping the needle on it for the first time.Any other fans?

I'll join in too! Frusciante is my favorite musician of all time and, similarly, resonates with me to a different level than any one other musician. Especially in the sense of his whole body of work. Two others who I adore are Josh Homme and Emily Haines.I'd say that I'm a mild Frusciante nut, and it's easy to sink so much time into watching YouTube clips of his performances and interviews of the past. His vocal range, angelic voice, creativity, song writing, lyrical style, and of course guitar playing. I don't think it'll ever stop blowing my mind.Anyways, I really appreciate everything he puts out and I am more open to experimental music in all sorts of genres. Choosing favorite albums is torturous because each different album provides different things, but 2 of my favorite albums of all time that involve are By the Way and The Will to Death.It's always fun to see which songs of his are more of growers than his other songs.

I also love DC EP and Sphere. I'll have 3 of his records so far, I only just got into vinyl last year. My gut tells me that Frusciante will slowly continue to reissue his currently expensive LPs. That first ever Niandra pressing announcement was sure out of the blue! Pressing a 23 year old album for the first time, wow.Congrats!

Thanks for posting and keep being awesome!.

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After returning in the role of Lazarus to the long-running L.A. School play called RHCP, John Frusciante had a star turn in repurposing Californication and By the Way as wise, unwanky meditations on the mellow gold of life after hedonism. Parts of Shadows Collide with People align nicely with those records, both sonically and thematically, but the album is really an exercise in focusing, for Frusciante to ground his self-made stuff in the same resignation and emotion that makes the Chili Peppers' latter period more resonant than, say, 'Magic Johnson'. For Shadows, Frusciante has finally harnessed the energy and unqualified honesty that pulsed underneath the wandering Syd Barrett-ness of his weird work, and applied them to a reedy, vaguely psychedelic, and consistently melodic collection of songs. Heaven, pain, swirl, death, time, belief: on Shadows Collide with People, these are the splotches of color that burst most before his retinas.He probably never was, but Shadows proves Frusciante's unconcern with upholding his oft-referenced stature as The Most Awesomest Guitarist of His Generation, or whatever. Yeah, yeah, there are electric guitars here- the fame rumination 'Second Walk' ends with a great solo full of fuzzy tone and bent notes to crack Carlos Santana's skull- but mostly, Frusciante and principal collaborator Josh Klinghoffer (of Bicycle Thief) indulge in the tricks and tracks of a full-fledged studio, building sparkly platforms for mercurial thoughts and snatches of meaning from whatever instruments and styles seem right in the moment.'

Carvel' opens Shadows with punch, crosshatching urgent, bass-heavy modern rock with a brittle sort of psychedelia that becomes elemental to the record. 'Sending a dummy to my God,' a newly vocally confident Frusciante sings over filtered synthesizers- and then everything's brought back for a triumphant rock finish. 'Omission' is a cousin to 'Californication', its dry acoustic guitar getting help from processed electronics and what might be a mellotron. Frusciante's groggy yorn also melds nicely with Josh Klinghoffer's breezy falsetto.This record is actually filled with all manner of keys and electronic freakery, particularly on brooding instrumental pieces like 'Failure33Object' or '-00Ghost27', but the rambling garage-rock of 'This Cold' or the aforementioned 'Second Walk' seems like an equally comfortable workspace. Not surprisingly, Frusciante also drifts regularly into the echoing astral stardust- 'The Slaughter' and 'In Relief' both zig on cool comet's tails of bittersweet detachment: 'I was afraid to be me,' he says on the latter. 'Be anything you want to be.' Shadows Collide with People, like all of Frusciante's earlier solo experiments, revels in self-indulgence.

It's a steady flow of introspection and bent-light reflection. However, with a newfound attention to melody and structure, his hemming and hawing about life, death, and fluorescent guts comes into focus for the rest of us. In a previous time, a track called 'Regret', with the only lyric being 'I regret my past/ Stay alone,' might have been the darkly bruised heart of a destructive, impenetrable sonic diary. Not so in these new shadows. Here, shimmering over a tapestry of orchestral programming, Frusciante's voice cracks and yearns between processed splutters and reverb. Of course, he regrets his past- he has, after all, come close to death on more than one occasion- but in 'Regret's quietly surging melody, his own heartrending singing, and the overall warmth of Shadows Collide with People, what Frusciante's saying has never been more clear.