Infinite Love – The Ear Canal

There is a theory that the very best records Red Hot Chili Peppers be that of John Frusciante. This is true in the case of Blood Sugar Sex Magik (1991) and Californication (1999), less so in the case of Arcadium Stadium (2006). After a 16 -year absence, the guitarist is back Infinite Lovean effort that feels better than before, but lacks length and strength.

More than any album’s RHCP, Infinite Love motivated by the power of nostalgia, by the desire to reconnect with the past. In fact, not only does the disc mark Frusciante’s return, but it’s also directed by Rick Rubin, who returns to the console after the “experiment” Danger Mouse on the run. The Getaway (2016). While Rubin deserves some awards for making the band’s best offerings, he has also been shown in the past to have the ability to deliver slow productions, such as boring. I am with you (2011).

Even if Rubin’s production remains slow, Infinite Love not a failure as one fears. Of course, Frusciante’s inventive play remains a strong stand-alone that allows him to improve on common pieces. But more than that, we felt that the group was happy to meet again, which resulted in a pretty good atmosphere, with lots of songs. half tempo reminiscent of the good old days and afternoons of cool on the beach (Love him, See what you think). In short, we’re so far from the mix of hard rock and funk that the formation is famous for, so it’s the impression of a tall game that lacks tone.

With 17 titles and a duration of almost 75 minutes, the expression “long game” gets its full meaning here. In fact, it was too much and the California band certainly benefited from sorting out their ideas to avoid melting the product. However, the Chili peppers offer here some of their most inspired songs in a long time. The last track on the album, The Heavy Wing much more successful, especially thanks to solo guitar signed Frusciante, who also sings the chorus, giving us a well-deserved break from Anthony Kiedis (I’ll get back to this). One of the unique pieces to look at (with These are the Ways) in stone, BlackSummer also hit the mark, with its dynamic variations and a grunge-inspired chorus.

There are very few surprises in Infinite Love, and the band clearly has no intention of stepping out of their comfort zone. The synths of Bastards of Light surprising a little at first, but the effect quickly falls flat. I prefer the small country end of White Braids & Pillow Chairs, powered by drums by Chad Smith. On bass, Flea is still as efficient as ever, even if his playing has become a bit unpredictable over the years. There are still songs he will steal from the show, especially on One Way Trafficthanks to a cookie-cutter solo.

There is, however, an elephant in the room on this twelfth career album Chili peppers, and this is the voice of Anthony Kiedis. We agree, Kiedis has never been virtuous in singing, but his energy and his character set have contributed to building the group’s good identity. However, his vocals are very lackluster here, and it’s especially unique on relatively tasteless tracks like let them cry and Veronica. We were also surprised that it annoyed the rap verses on Child poster. As far as I’m concerned, his performance on Tangelloa song built in the spirit of trippin on the roadfor me the most convincing.

Overall, there is enough drinking material here to satisfy longtime fans, who will be happy to find RHCP in “classic” mode. But that shouldn’t be used to hide the fact that it’s a relatively soft album, going back to an ideal past, and where the risk -taking is minimal, if not absent.

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