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I and II
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| I and II | ||||
|---|---|---|---|---|
 Cover of I | ||||
| Studio album by | ||||
| Released | February 3, 2023 | |||
| Recorded | 2022 | |||
| Genre | Ambient, drone | |||
| Label | Avenue 66 (Acid Test) | |||
| Producer | John Frusciante | |||
| John Frusciante solo chronology | ||||
| ||||
| Alternative cover | ||||
 Cover of II | ||||
| John Frusciante chronology | ||||
| ||||
I and II (pronounced "one" and "two", stylized as . I : and : I I .) are the twelfth and thirteenth studio albums by American musician John Frusciante. Both albums were released on February 3, 2023, through Avenue 66 (Acid Test Records).[1] I is a vinyl-only release containing seven tracks, while II is a digital and CD release featuring more material. Frusciante stated that the former album would include an exclusive track and that the lack of certain material is due to the fact that certain material on II contains "sounds that can not be pressed on vinyl".[2]
Frusciante said the albums contrasted with the structured rock songs he contributed to while working on the Red Hot Chili Peppers albums Unlimited Love and Return of the Dream Canteen (both released in 2022), stating that "After a year and a half writing and recording rock music, I needed to clear my head. I listened to and made music where things generally happen gradually rather than suddenly."[3]
Frusciante primarily used analog technology for the making of the album, utilizing synthesizers such as the Elektron Monomachine and Analog Four MK II.[4][5] Among the artists and pieces listed as influences over the album were Jimi Hendrix's "...And the Gods Made Love" and the ambient music of Brian Eno.[5]
Track listings
[edit]All songs written by John Frusciante.
I
[edit]| No. | Title | Length |
|---|---|---|
| 1. | "Clank" | 11:02 |
| 2. | "Sluice" | 6:00 |
| No. | Title | Length |
|---|---|---|
| 1. | "Firpln" | 13:35 |
| Total length: | 30:37 | |
| No. | Title | Length |
|---|---|---|
| 1. | "Unitiled" | 7:32 |
| 2. | "OFD" | 2:40 |
| No. | Title | Length |
|---|---|---|
| 1. | "Pyn" | 5:56 |
| 2. | "MK 2.1" | 7:12 |
| Total length: | 23:20 | |
II
[edit]| No. | Title | Length |
|---|---|---|
| 1. | "Golpin" | 12:12 |
| 2. | "MK 2.1" | 7:17 |
| 3. | "Pyn" | 6:03 |
| 4. | "Blesdub Dot" | 16:18 |
| 5. | "Unitiled" | 7:38 |
| Total length: | 49:27 | |
| No. | Title | Length |
|---|---|---|
| 1. | "Clank" | 11:02 |
| 2. | "Frantay" | 16:24 |
| 3. | "Galvation" | 6:31 |
| 4. | "Sluice" | 6:00 |
| 5. | "Firpln" | 13:49 |
| Total length: | 53:45 | |
References
[edit]- ^ Krol, Charlotte (December 6, 2022). "Red Hot Chili Peppers' John Frusciante announces new electronic double album 'I' and 'II'". NME. Retrieved January 15, 2023.
- ^ Maxwell, Jackson (December 6, 2022). "John Frusciante to release new electronic album in 2023: "After a year and a half writing and recording rock music, I needed to clear my head"". Guitar World. Retrieved January 22, 2023.
- ^ Muk, Issac (December 5, 2022). "John Frusciante announces new electronic double album 'I' and 'I I'". Mixmag. Retrieved January 15, 2023.
- ^ Sunkel, Cameron (December 5, 2022). "Red Hot Chili Peppers' John Frusciante Announces New Electronic Double-Album". EDM. Retrieved January 22, 2023.
- ^ a b Hudson, Alex (December 2, 2022). "RHCP's John Frusciante Announces New Solo Album". Exclaim!. Retrieved January 22, 2023.
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I and II
View on Grokipediafrom Grokipedia
Background
Development
Following the release of Red Hot Chili Peppers' albums Unlimited Love and Return of the Dream Canteen in 2022, John Frusciante returned to solo work to pursue a contrasting creative direction. After spending a year and a half focused on structured rock songwriting and recording with the band, he sought a therapeutic outlet to reset mentally.[4][5] Frusciante intentionally shifted toward ambient and drone-based music, describing the project as a means to "clear his head" from the demands of rock composition. This approach emphasized immersion in sound over narrative or performative elements, allowing him to explore a more introspective, non-linear form of expression that differed sharply from his recent band efforts.[4][5] The writing process took place in 2022, with tracks emerging as improvisational explorations rather than conventional songs. Frusciante developed the pieces by creating initial sound patches, listening extendedly to let elements evolve gradually, and incorporating subtle manipulations without fixed structures or abrupt changes, resulting in music designed to "just exist" in sonic space.[4][5]Influences
The experimental electronic sound of I and II draws primary inspiration from Jimi Hendrix's "...And the Gods Made Love," a track from the 1968 album Electric Ladyland known for its abstract, non-linear sound design achieved through innovative tape manipulation and phasing effects.[4] Frusciante has cited this piece as a key reference for creating immersive, evolving sonic landscapes that prioritize texture over traditional structure.[6] Brian Eno's ambient works further shaped the albums, serving as a model for gradual, non-manipulative music that "just exists" in the environment without demanding active attention from the listener.[4] Eno's foundational concepts, as explored in albums like Ambient 1: Music for Airports (1978), influenced Frusciante's approach to unobtrusive, atmospheric compositions that unfold organically.[7] The broader ambient and drone genres, including electroacoustic improvisation (EAI), form the foundational ethos of I and II, emphasizing real-time sonic exploration and solitary "sonic sculptures."[4] Frusciante specifically referenced EAI practitioners such as Chris Watson, Peter Rehberg, and Bernard Parmegiani for their focus on extended, improvised sound worlds that avoid rhythmic or melodic conventions.[4] This contrasts with the rock-oriented influences from his work with the Red Hot Chili Peppers, providing a deliberate departure toward introspective electronica.[6]Recording and production
Equipment and techniques
The production of .I: and :II. relied exclusively on synthesizers from Elektron, specifically the Monomachine (digital) and Analog Four MK II (analog), which generated all sounds on the albums.[8] These hardware devices were used to create sequences limited to single notes, avoiding traditional rhythms or multi-note patterns to emphasize sustained, evolving tones.[9] The recording process was unedited, with each track captured live directly to a CD burner in a single take, eschewing any digital manipulation, overdubs, or post-production.[8] Frusciante operated one or two machines per piece, setting up initial patches and allowing them to develop organically through real-time adjustments.[9] Key techniques centered on improvisation and real-time layering to produce the albums' characteristic drone and ambient textures. Sounds were manipulated on the fly during performance, with elements incrementally added to existing patches after extended listening sessions to ensure gradual evolution rather than abrupt shifts.[8] This approach fostered a sense of movement and stillness, aligning with the project's ambient influences while maintaining an unpolished, immediate quality reflective of its therapeutic origins.[9]Differences between I and II
Album I was constrained by vinyl pressing limitations to 7 tracks, with a total runtime of 53:57, necessitating shorter, more concise compositions to fit the medium's physical boundaries.[8] This format encouraged a tighter structure, where each piece was crafted to maximize the available space without compromising audio fidelity or groove spacing. In contrast, Album II featured an expansion to 10 tracks over 103:12, incorporating longer passages of unpressable-on-vinyl material that enabled the development of more expansive drones and sustained sonic explorations.[4] The additional length allowed for deeper immersion in improvisational elements, free from the temporal restrictions of analog formats. Album I was conceived and recorded as a cohesive set intended exclusively for vinyl release, prioritizing unity within the LP's constraints. Album II, however, functioned as a digital extension, incorporating further improvisations that built upon the initial framework to create a broader, more iterative body of work. Both albums utilized shared synthesizer equipment for their core sound design.[10]Musical style and composition
Overall style
.I and II represent experimental electronic music that blends ambient and drone aesthetics with electroacoustic improvisation (EAI), featuring reductionist approaches to sound design.[4] These works eschew conventional structures, lacking chord progressions, defined tempos, lyrics, or melodic lines, and instead prioritize the slow, organic development of sonic textures to foster deep listener immersion.[9] The music unfolds through improvised, live-recorded synth performances without overdubs or rhythmic sequences, emphasizing single-note patterns and gradual morphing of sounds to create a sense of simultaneous movement and stasis.[4] This non-manipulative approach aims to evoke a therapeutic presence, allowing the over two-and-a-half-hour runtime across both albums to reward patient engagement by revealing evolving layers over time. Influences from Jimi Hendrix's experimental soundscapes and Brian Eno's ambient principles subtly inform this textural focus.Album I
.I., the first installment of the companion albums, features John Frusciante as the sole creator, responsible for writing all tracks, performing every instrument—primarily synthesizers—and handling production and mixing.[8][11] No additional musicians or guest contributors participated in its creation, underscoring Frusciante's singular artistic vision for this electronic work.[8][11] The album was mastered by Lopazz, ensuring its polished sonic clarity across digital and physical formats.[11] For the vinyl pressing, lacquer cutting was performed by Theo Krieger at TK*, contributing to the high-fidelity analog release.[11]Album II
Album II, released as the digital and CD edition titled :II., features John Frusciante handling all aspects of its creation, including writing, performance on synthesizers, production, and mixing.[4] The album's ten tracks were recorded live directly to a CD burner using one or two synthesizers, such as the Monomachine or Analog Four, with Frusciante manipulating sounds on the fly and without any overdubs, emphasizing his solo improvisational approach particularly in the extended compositions that define this longer version.[4][12] No additional musicians or collaborators contributed to the instrumentation or composition, maintaining Frusciante's complete artistic control throughout.[12] This solo-centric process aligns closely with the credits for Album I, though :II. extends the improvisational elements to accommodate its digital format's capacity for longer tracks.[4] Digital mastering was performed by Lopazz at Mixmastering.de, providing the sole external contribution to the album's technical completion.[12][4]Release
Formats and availability
.I. was issued exclusively as a double vinyl LP, containing seven tracks with a total runtime of 53:57, including the vinyl-exclusive track "OFD"; this format choice limited initial accessibility to physical media enthusiasts, prioritizing tactile engagement over widespread digital dissemination.[11][8] In contrast, :II. appeared in digital download and double CD editions, encompassing ten tracks that run for 103:12 in total; this version integrates most content from .I. (excluding the vinyl-exclusive track "OFD") alongside additional exclusive material such as "Golpin" and "Blesub Dot," broadening reach to a larger audience via convenient formats.[4] The CD came in a tri-fold digipak, further supporting physical ownership while the digital option facilitated immediate access.[12] Both albums launched simultaneously on February 3, 2023, through Avenue 66, a sub-label of Acid Test Records, with .I. initially vinyl-exclusive to uphold the project's analog-focused ethos, while :II. was available digitally and on streaming platforms from launch; this strategy restricted .I.'s online exposure initially but later expanded as digital platforms incorporated both releases, improving overall accessibility without compromising the intended format distinctions.[13]Promotion
The albums I and II were announced by John Frusciante on December 6, 2022, through social media posts and accompanying press releases that emphasized the works' departure into electronic music, contrasting his contributions to the Red Hot Chili Peppers' rock-oriented sound.[13][14] Frusciante described the project in a statement as a therapeutic endeavor to rebalance himself amid band duties, producing ambient electronic pieces intended to "just exist" without manipulative intent, drawing on synthesizers like the Monomachine and Analog Four for gradual sound evolution.[4][6] Promotion eschewed traditional singles or music videos, instead relying on Frusciante's artist statement and the intrigue of the albums' experimental format—I as a vinyl-exclusive release and II for digital and CD—to generate interest.[13][15] Media coverage in outlets such as NME, Exclaim!, and Mixmag highlighted the abstract, non-commercial nature of the music, positioning it as a bold solo exploration outside mainstream expectations.[13][14][15] No tour or live performances were tied to the February 3, 2023, launch, keeping the focus on the recordings' introspective release.[16]Reception
Critical response
Upon its release, I and II received a mixed critical reception, with reviewers praising Frusciante's ambitious foray into electroacoustic improvisation (EAI) and drone while critiquing its demanding nature for broader audiences.[17][18] Publications such as Tinnitist lauded the albums as visionary experiments in ambient music, emphasizing their therapeutic intent to clear the listener's headspace after Frusciante's rock-oriented work, and noted their seamless fit within the genre through subtle, evolving synth layers inspired by Brian Eno's concepts.[17] Similarly, Cult Following appreciated the project's role in challenging conventional listening habits and its analog purity, recorded live without overdubs using modular synthesizers like the Monomachine and Analog Four.[19] Critics highlighted the albums' inaccessibility as a primary drawback, particularly the combined runtime of over two and a half hours across 17 untitled tracks (7 on I and 10 on II) that demand sustained patience and focus.[18] Resident Advisor described the work as deeply meditative and cohesive but acknowledged its bold requirement for undivided attention, with some passages featuring uncomfortable elements like panning static and high-pitched rings that test endurance.[18] Aggregate scores reflected this ambivalence: Album of the Year tallied a critic average of 60/100 based on 2 reviews, while user ratings averaged 41/100 based on 48 ratings (as of November 2025), and Rate Your Music reported an overall 2.43/5 from 223 ratings, often citing the lack of traditional structure, rhythms, or melodies as barriers.[20][21] Exclaim! questioned the value of soundscapes that border on silence, underscoring the challenge for those unaccustomed to ambient forms.[22] Recurring themes in reviews contrasted the albums' abstract, synth-driven purity with Frusciante's renowned guitar-centric output in Red Hot Chili Peppers and solo rock projects, viewing I and II as a deliberate departure that prioritizes sonic stillness over melodic engagement.[18][22] While some appreciated this analog fidelity—captured directly to CD burner—for its unmanipulated authenticity, others noted it alienates mainstream listeners seeking more immediate gratification.[19][17] By 2025, the albums had not received any major awards or nominations from institutions like the Grammys.[23]Commercial performance
The albums I and II achieved limited commercial success, attributable to their niche positioning within the electronic ambient genre and the unconventional release strategy that separated I as a vinyl-only edition from II as a digital and CD release. This format split restricted broader market penetration, as I was not initially available on streaming platforms, while II gained modest visibility through digital channels post-launch. Neither album entered major charts, including the Billboard 200 or the UK Albums Chart.[24] The vinyl edition of I particularly appealed to collectors, featuring an exclusive bonus track and adjustments to accommodate vinyl pressing limitations, such as shortened durations for certain pieces with high-frequency content. Released through Frusciante's independent imprint Avenue 66, the physical format catered to dedicated fans and audiophiles rather than mass audiences.[4][25] In contrast, II saw comparatively stronger digital engagement, available on platforms like Spotify where it accumulated streams among ambient music enthusiasts, though exact figures remain modest relative to Frusciante's work with the Red Hot Chili Peppers. Sales were primarily fan-driven, bolstered by Frusciante's enduring recognition from the band's multi-platinum albums, but lacked mainstream crossover appeal in the competitive electronic market.[26][27]Track listings
I
All tracks on I are written, produced, and performed by John Frusciante.[11]| No. | Title | Duration |
|---|---|---|
| 1 | "Clank" | 11:02 |
| 2 | "Sluice" | 6:00 |
| 3 | "Firpln" | 13:49 |
| 4 | "Unitiled" | 7:38 |
| 5 | "OFD" | 2:45 |
| 6 | "Pyn" | 6:03 |
| 7 | "MK 2.1" | 7:17 |
II
:II. is the digital and CD edition of the project, featuring ten tracks with a total runtime of 103:14.[12] It incorporates the seven tracks from the vinyl-only Album I (.I:), albeit in a different sequence, along with three additional pieces: "Blesub Dot," "Frantay," and "Galvation." These expansions provide extended electronic explorations, with several tracks exceeding ten minutes in length. All tracks were written, produced, and performed by John Frusciante, who handled all instrumentation using modular synthesizers and sequencers.[12][4] The track listing for :II. is presented below:| No. | Title | Length |
|---|---|---|
| 1 | Golpin | 12:12 |
| 2 | MK 2.1 | 7:17 |
| 3 | Pyn | 6:03 |
| 4 | Blesub Dot | 16:18 |
| 5 | Unitiled | 7:38 |
| 6 | Clank | 11:02 |
| 7 | Frantay | 16:24 |
| 8 | Galvation | 6:31 |
| 9 | Sluice | 6:00 |
| 10 | Firpln | 13:49 |