The Empyrean

The Empyrean

The Cult News| March 2015
By J. Porras

Released in 2009, John Frusciante’s tenth studio effort is one album in which the sum of its parts, rather than the separate pieces, allows an emotional and spiritual journey for the listener to enjoy. Nevertheless, it should be listened several times in order to be able to digest the collection of songs as a whole.

Regarding the album’s concept and its lyrics, the Empyrean employs spiritual and religious imagery to narrate the story of a person’s journey of self-discovery and rebirth. In fact, the songwriter has taken his record’s name, Empyrean, from the highest place in Heaven, which is where God dwells, and has been represented in literature by authors such as Dante Aligheri in the Divine Comedy and John Milton in Paradise Lost. Similar to previous releases, John Frusciante explores his life experiences as a tool to have a more intimate interaction with the listeners; nevertheless, these elements appear in a less straightforward manner. Disguised as a metaphysical journey, the protagonist’s odyssey mirrors the guitarist’s former struggle with drugs, how his addiction led him to near-death experiences and how rehabilitation and reintegration to society has allowed him to come to terms with himself and his source of creativity. Moreover, the lyricist expands on his personal philosophy (which has been the concept of many of his songs in previous releases) by exploring the relationship between humanity and existence (Central, Unreachable, After the ending), karma (Enough of me, One more of me), and time (Ah yom).

In terms of composition, the Empyrean includes an opener of nine-minutes guitar solo, reminiscent of Funkadelic’s Maggot Brain, as stated by music critics such as Sean Westergaard, from All Music, and Chris Campion, from The Observer. Furthermore, the record displays an extensive use of instruments, from electric pianos (Unreachable), to strings (Central), drum machines (Dark/Light) and even voice effects (After the Ending), which vary from being used in an almost subtle manner to become massive sound waves that give the songs almost an orchestral quality, without deviating from a consistent sound. This varied instrumentation complements the album’s metaphysical concepts by giving an ethereal sound to the lyrics. In addition, the guitarist has experimented with lyrical repetitions in the song Central, repeating the same four verses for almost four minutes without sounding monotone or becoming tiresome to the listener. However, the musical exploration in this production is evidenced in the songs Enough of me and One more of me, which both feature screeching and off-the place guitar solos. In a similar vein to Tool’s Wings for Marie, part I-II and Viginti Tres, from 10000 days, Enough of me and One More of me can be combined by being played at the same time, creating a new song in the process.

While some listeners may be put off due to some of the songs’ length or the experimental qualities of the album, The Empyrean is a musical experience that cannot be missed, and as its creator has said, this is the kind of album that is “suited to dark living rooms late at night.”