10 Fakten zum neuen Album der Red Hot Chili Peppers:
Danger Mouse (...) imposed the same method that proved so successful with The Black Keys, co-writing new material and bringing a keen pop sensibility to the arrangements – damped guitar picking and mouthed hi-hats for the title-track; crisp synthesiser sci-fi funk for “Go Robot”; and piano and two guitar figures muscled aside by Flea’s slap-bass for “Dark Necessities”, Anthony Kiedis’s claim of dangerous charm. As ever, California gets plenty of mentions, though there’s less filler than usual, the album reaching a yearning epiphany in the string-draped song for a son, “The Hunter”.
There’s a reluctance to take too many risks, understandable after three decades of success. But it shouldn’t be enough to churn out so-so albums. The funk-rock pioneers revolutionised the West Coast club scene in the mid-’80s and you’d hope the fires still burn.
It’s not as if they lack the talent to innovate. Hard-hitting drummer Chad Smith is as good as anyone and in Flea they have a virtuoso musician. But maybe they don’t realise how safe it sounds. Last month, Kiedis called the new songs “as good as any we’ve ever written”. While that’s not strictly true, these are well-penned tunes. They just don’t do anything special with them.
With production by Danger Mouse, and Radiohead sixth man Nigel Godrich on the mix, the sound is top-shelf modern-rock splendor: shimmering guitar fractals, flashing string arrangements, artisanal rhythmic flourishes. Yet Flea's bass still grounds the music, as sinewy as Iggy Pop's musculature, with Anthony Kiedis dirty-romanticizing L.A. as he macks his way through. There are surprising moves (the Chic-cum-Daft Punk mash-up "Go Robot," the grind- ing blues rock and shout-out to late producer J Dilla in "Detroit") and also familiar flourishes (the plodding rap rock of "We Turn Red"). Lyrically, the vibe is often wistful. On the ambient nostalgia trip "Encore," Kiedis invokes the Beatles, while the sultry psych-funk jam "Dreams of a Samurai" finds him naked in the kitchen of a woman "too young to be my wife" and subsequently "taking acid in the graveyard." As visions of mortality go, sounds promising.