Like probably many people before me, I was obsessed with Red Hot Chili Peppers at some point in my life. And, despite the amazingly different ways music is consumed and has evolved, I still think younger generations will still find the funky grooves, angular guitars and frequently non-sensical lyrics of the band’s stellar years quite charming. Which are their stellar years is for each fan to judge to be honest, but there’s at least a few records that most people would agree are among their best. The point of this whole statement? Establishing before hand that whatever peak RHCP reached during their career, Unlimited Love is far from it.

Trying to still be straightforward, I am also not an expert in the band. Their 90s output in my opinion reached greatness. Blood Suger Sex Magic, the most quintessential Red Hot Chili Peppers’ album in every possible way, is also, for me, the best Red Hot Chili Peppers’ album. Californication is significantly engaging too, and any music fan that would claim to haven’t heard ‘Otherside’ in a rock-themed restaurant would be lying. Their records in the 21st century made the most part of my interactions with the band. Even the bonus disc (!) of the unnecesarily and outrageously long Stadium Arcadium was acceptable for the adolescent version of myself.

In 2009, John Frusciante, a colorful and rich guitarist himself, left the band (for a second time) and was replaced with Josh Klinghoffer, and 10 years later he announced his return, which is the main selling point of Unlimited Love, the classic line-up back in all its glory. At the time of the announcement skepticism and uproar could be encountered in equal measure across social media. I was skeptical. The last two albums with Frusciante were solid at best, but considerably uneven and the two records without him, well, clearly showcased the band did lost in general creativity without his input.

Unlimited Love takes the band back to it’s 2000s form. It packs quite a lot, but, at the very least, they sound motivated, infused with late-career energy and having fun. Opener and first single ‘Black Summer’ is one of the main highlights, a strong delivery from Anthony Kiedis (with a Scottish accent?), a rousing chorus and classic shredding from Frusciante make the song memorable, although somewhat unoriginal. Something that is also welcomed from Frusciante’s return are his on-point back-up vocals, they do take you back to simpler times on the back-end of the track.

At first approach, the album first half feels long-winding. Funky bass-lines, a rap-like delivery from Kiedis on ‘Poster Child’ and the occassional outbursts of guitar prowess from Frusciante like in ‘Aquatic Mouth Dance’ are the common tropes. Many songs here are around the 4 minute mark or above it. Most of them overstay their welcome. ‘Here Ever After’ has a fairly memorable chorus and is one of the tighter songs in the first half. ‘Not The One’ is a commendable ballad with one of Kiedis most bright performances in the whole record. ‘The Great Apes’ reminds me directly of Stadium Arcadium, especially with Frusciante’s shredding being frontal in the track.

Just like it was expected, Frusciante’s guitar, and himself, are protagonists of the record. His vocal harmonies are peppered throughout almost every song here, song breaks are embellished by his melodic fret-pressing virtuosity and he’s credited with mellotron and synths in several other tracks. Unlimited Love is naturally also supported by the musician with the second greatest curriculum in the band: Flea. His basslines, which for me were nuclear to keep 2011’s I’m With You mildly interesting, are also cornerstones of many tracks here. A great example is ‘It’s Only Natural’ which takes Flea melodic slap-bass expertise front and center. The track does well harnessing from that, but nevertheless sins of an unnecesary long duration.

Unlimited Love does sound like the band is grinding through the songwriting, with irregular results. The rapport is there unsurprisingly, and the different combinations of rock forms in which they have navigated since at least 30 years do come to them with ease. The execution is a whole different thing. ‘These Are the Ways’ punk-inspired riffing and rhythm change work solidly well, something that can’t be said of ‘Bastards of Light’ which is disrupted by a noisy break only to negatively affect what was a good song at that point. ‘White Braids & Pillow Chair’ reminds me of By The Way‘s most gentle moments and its affecting tune and sudden increasing tempo are definitely a highlight on the album’s second half. It is also one of the tighter tracks in the record which only benefits the song.

Rick Rubin, the hip-hop and rock legendary producer was behind the board for this record. He clearly knows the band and has work with them in the past. The mixing of the instruments is pristine, Frusciante’s guitar is never intrusive, Kiedis voice is at the top without overshadowing the instrumentation and the rhythm section is clear. Quirky transitions, some instrumentation decisions and, I insist, the fact that many songs can’t deal with their own length do impact the whole flow of the record. Like in ‘The Heavy Wing’ which packs a great chorus sung by John Frusciante, but extends itself with an elongated verse-chorus-verse structure and a lenghty solo and break. For some reason the coda of ‘Veronica’ seems to pay homage to The Beatles’ ‘I Want You (She’s So Heavy)’, which somehow makes the duration a little more enjoyable.

Lyrically the band and Kiedis express familiar ideas of love and its shortcomings, their role as rock stalwarts and the new perspectives that come with age, especially considering that they’ve been active for 4 decades. It metaforically explores their individual lives as well and there’s also commentary on some important events of the world but is never piercing or engaging enough to bring any moment to the spotlight. Further themes of musical influences, important places for the band and their own musical past and transformation are broadly detailed. Again without something to actually highlight, Kiedis sounds inspired and invested in the words, nonetheless.

After a few listens, Unlimited Love does turn out to be a more cohesive effort than their last three records. There’s plenty styles being showcased, and the band’s rapport is notable. This isn’t Red Hot Chili Peppers’ longest album, but it’s longer than its predecessors, and its biggest flaw is the fact that there isn’t enough ideas or at least inspiration to maintain the listener engaged for such the whole duration. Some good moments here and there are commendable, and the album is never actually bad, but it is not interesting enough. I do think the band could take a different approach and harness their abilities and Frusciante’s clear influence in newfound motivation in subsequent records. However, for now, Unlimited Love with all its enjoyable moments, fails to actually capture an essence effectively, and it doesn’t give a reason to look forward to the future, either.