The Dutch Magazine OOR has published the first review of Red Hot Chili Peppers’ new album The Getaway. Read the translated review below, which may have poor grammar due to the online translation:
‘As George Martin and The Beatles belong together, Tony Visconti and David Bowie, so Rick Rubin belong to the Red Hot Chili Peppers: less than a quarter of a century, he gave them their signature sound and he experienced a lot of highs and lows. Forever fused, you might say, but not so: for The Getaway was Brian Burton aka Danger Mouse (Gnarls Barkley, among others, Gorillaz, Beck, Black Keys) tied, while the mix was done by Radiohead producer Nigel Godrich. Of thick timber exchanged for refinement. But did it matter? Yes and no. Yes, because the hand of Danger Mouse is clearly audible at times, because he brought his mate Daniele Luppi, the arranger with whom he has a penchant for Italian soundtracks common.
On The Getaway so regularly at once graceful and subtle string arrangements piano themes. The drums of Chad Smith, normally a stonemason from the square type, sound a lot more elegant. It must be said: it is the men well, some refinement, especially with someone like John Frusciante which can no longer offer. For the rest – for the second half of the ‘yes and no’ just to cut – The Getaway offers not very much new under the sun. This Chili Peppers by the book, as pastor I’m With You that was, though it sounds The Getaway more zeal. Wherein the gaze focused resembles their own musical past. Just look at Flea’s old fashioned slap bass in single Dark Necessities, it strongly Under The Bridge spheres leaning The Longest Wave, the unguided funk projectile Detroit (which harks back to the sound of The Uplift Mofo Party Plan 1987) and the almost parody-like eighties sound of Go Robot. And then there’s Anthony Kiedis, whose lyricist actually his whole career has been trying to come into balance with its past (full of sex, drugs and death) and there on The Getaway diligently continue with (in Feasting On the Flowers is again a reference to the 1988 deceased Peppers guitarist Hillel Slovak), Kiedis already claimed in a radio interview that the album deals about recent relationship troubles. Anyway, the musical tone is generally light and visible: The Getaway can be largely sounds like a lighthearted, funky pop record where the four Californians emphatically as sound itself, but – thanks to Danger Mouse and a lot of strong song material – much tastier and inspired than you would expect in the year 2016.’
