American rock band Red Hot Chili Peppers have captured the ears of music lovers for the past 33 years with their unique mix of rap, rock and funk. The Peppers have certainly received their fair share of criticism, especially with their unusual and occasionally eccentric lyrics, the unique vocal stylings of frontman Anthony Kiedis, It doesn’t help that the band seems unable to record a single song without some sort of mention of the great state of California.

The band continues their musical journey, though, having just released their eleventh studio album, The Getaway, on June 17.

The album does signify that the Peppers have reached the later part of their career, but it also serves as a definite indication that the band can still make great music. The Getaway marks the band’s first release in five years and the band’s first album in about 27 years without producer Rick Rubin at its helm. Brian “Danger Mouse” Burton replaced the long-time producer for this record, a big decision on the part of the band, as Rubin helped create their distinct style.

Still, The Getaway feels like Danger Mouse kept the band’s unique style while adding his own input, making for a sound that seems more controlled and laid back than some of the Peppers’ previous work.

The album’s lead single “Dark Necessities” sees Anthony Kiedis attempt to channel something deep, as he screams “You don’t know my mind, you don’t know my kind, dark necessities are part of my design.” Another standout is “Encore,” a catchy, lesser-known song which once again sees the Peppers worship their home state — Kiedis sings “Driving down Calexico highway, and now I know the sign for sure.”

California is most certainly not the only topic on Kiedis’ mind this time, however. In “Go Robot,” he basically alludes to having sex with robots and “Detroit,” which, if nothing else, does at least prove that the band can sing about somewhere other than California.

Danger Mouse’s presence is certainly felt, which can serve as a blessing as well as a curse. Everything sounds a little bit softer and more controlled, but this also makes some of the songs seem slower, which could create a potential problem with a band known for bringing their lively energy into their music.

On the other hand, the band’s style has by no means gotten completely sacrificed. Kiedis still provides plenty of his strange, sometimes nonsensical lyrics, and bassist Flea still has many opportunities for his gloriously unnecessary bass solos.

The Getaway may not serve as much of a game changer for Red Hot Chili Peppers. It certainly does not reach the heights of their glory days, such as the acclaimed 1999 album Californication, but it most certainly does prove that even though they may have gotten a bit older, they still have what it takes to create a great album.

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