Review: PBX Funicular Intaglio Zone [Frusciante Countdown]

PBX Funicular Intaglio Zone- John Frusciante

[Countdown to Enclosure]

by: Sabrina G

PBX Funicular Intaglio Zone (which will be referred to simply as PBX) was a very different album for John Frusciante. At least, that’s what most of his fans thought. The more I listen to the releases leading up to this, the less of a surprise it is. It’s solidly an electronica album.

I remember when the album came out a lot of John fans had a very negative attitude. At first, I will admit I was a bit unsure how I felt about PBX. However, when considering past releases and the heavy electronic presence as far back as To Record Only Water For Ten Days… is it really that shocking? And even if it is, who are the fans to judge? I’m quite positive that John is one of those artists who says he releases music for himself and actually sticks to that. I don’t think the accessibility or sales of an album are of much concern to him. The beauty in that is found in albums like PBX: it’s something different. Though there’s a degree of foreshadowing, the switch was pretty stark.

Excuse the tangent but, I feel as though PBX needs a little defending. I’ve come to realize that seasoned rock fans are quick to write off electronic music as something less. Purists shame the use of computers in the process of making music, saying that real music needs to be a completely human process. While music is a very subjective thing, close mindedness is something I’ve run into a lot as a rock fan. For one thing, approaching something as diverse and broad as music with a closed mind is not something I’d recommend. There’s a lot out there and, even within the confines of a genre, every artist is unique. It’s very likely that you’ll surprise yourself by finding a new and unexpected favorite. I’ve also noticed that these rock purists can be a little hypocritical. The use of synth in recent music is unacceptable… yet when Pink Floyd and all the great prog rock bands of years past most notable instrumentation was a synthesizer, it results in classic albums and legendary bands. I’m not trying to be critical, but rather pointing out the degree of hypocrisy that can be found in some sects of rock fans.
If I’m going to be perfectly honest, I used to get an attitude like that at times. I’ll be the first to admit that it was both snobbish and elitist of me to think in black and white terms when it comes to music. Luckily, I grew out of that before it got too deeply rooted. Again, that’s just my opinion regarding my personal music taste. While I feel as though an open mind is vital to truly enjoy all the vast listening possibilities of music, it’s not necessarily required. The reason I mention this is because I was really impacted by PBX. It was my first real exposure to electronica. It opened my mind to all the possibilities and beauty that electronic music has to offer.

That being said, I feel as though PBX has similar elements to past releases as far back as Niandra. In the first track, Intro/Sabam, there’s a certain sound to it that reminds me of an amped up, electronic rendition of something that could be found on John’s first two albums. It’s a difficult to explain and phrase correctly, and I’m not entirely sure if I’m alone in thinking so. Regardless of the track, there’s the same blind experimentation that can be found on any Frusciante album.

The song Ratiug is interesting to me. It’s the longest on the album at a little over six minutes, and features slightly more prominent vocals from John. Like some previous releases, the vocals on this album aren’t exactly front and center but rather buried under the music. I also found the incorporation of hip-hop elements to be an interesting addition. The track features Kinetic 9 (of Killarmy). If anything, this track comes as a surprise when compared to John’s past releases. As I’ve mentioned, the electronic elements were present in John’s music a full eleven years before PBX was released. Hip-hop, however, wasn’t the most expected musical pathway but, in retrospect, it really makes sense.

PBX Funicular Intaglio Zone isn’t my favorite Frusciante album. Regardless of where I’d place it on an ordered list of favorites, I still really enjoy it. It’s different from my typical taste and is, perhaps, not what all Frusciante fans are interested in. I’ve seen a lot of mixed reactions to the album online; it really seems to be a love it or hate it kind of deal. If anything, it’s a testament to the unrestricted artistic freedom that John Frusciante has obtained over the years. I think that, above all, it’s an album he released for himself. It’s a unique and beautiful album. It’s a masterpiece of musical exploration; full of sampling, synth, and new experiments. While this might not be the most popular opinion, I’m happy that John has decided to make this shift in his career.