Few bands have the longevity, let alone, the indomitable vim, to stick around for nearly 30 years and still sound as dynamic as the Red Hot Chili Peppers do- surviving countless ups and downs, from addictions, overdoses, personnel changes, and beyond, that the band is even still walking is a testament in itself to its survival instinct. Produced by Rick Rubin, I’m With You is the Red Hot Chili Peppers’ tenth studio album, and their first since 2006’s Stadium Arcadium and departure of guitarist John Frusciante in 2009. Those fearing that the quality of songwriting would fall without Frusciante need not fear- new guitar Josh Klinghoffer (Dot Hacker, Gnarls Barkley, Ataxia) eases into his role quite well, complimenting the newfound vitality and emotion in the band’s repository. However, ‘I’m with You’ is not so much a full-blown rebirth as non nova sed nove. This is the sound of veteran rockers masterfully picking the best parts from moments in their career and amplifying them.

‘Monarchy of Roses’ opens in chaotic rumblings of a rock band getting ready to kick some serious ass, “Do you like it rough/are you up to task?” Kiedis asks over Sabbath-flavored riffs as the curtain drops to reveal… A shimmering disco chorus? Yes, indeed. On ‘Factory of Faith’ Flea’s trademark funk-infused bass is at the forefront, and it is our first full glimpse of the new- Klinghoffer’s playing doesn’t change the style as dramatically as when Dave Navarro briefly joined the band for ‘One Hot Minute’ in 1995, but it isn’t simply more of the same, unlike Frusciante, Klinghoffer’s noodlings are more subdued, content to color with suggestion and shade in with echoes than to overpower with complex rock solos.

According to Flea, “life and death is a major theme” of ‘I’m with You,’ and this is most apparent on ‘Brendan’s Death Song’, a tribute to the bands biographer Brendan Mullen. It is a touching, acoustic track that slowly transitions into almost big rock ballad status; in the full-on jam of the song’s coda, Chad Smith’s powerful drum fills march the band along as Kiedis kicks into fervid, spirited ‘yeahs.’ This song, perhaps more so than any other, shows that Kiedis, with his commanding delivery, still has the archetypal rock frontman embedded in his DNA.

“It starts with bass” Rick Rubin chimes in as ‘Ethiopia’ begins; written after Flea’s trip to said country, it kicks off with soulful bass and hammering drumming from Smith, until transitioning to the standard issue stadium chorus the band has mastered over the past decade. ‘Look Around’ reminds the listener of the heyday-early 90s Peppers funk, with another soaring, melodic chorus breaking in midway.

‘The Adventures of Rain Dance Maggie,’ the first single from the album, is a rocking number with Flea’s trademark funk-basslines and Kiedis nonsensically laying it down old-school “Tick tock, I wanna rock you like the eighties.” It kicks into a loud, unapologetically pop chorus. This song, and more melodic tracks like ‘Annie Wants a Baby’ and ‘Goodbye Hooray’ are reminiscent of the stronger moments from ‘Stadium Arcadium’ and show that even as the Chili Peppers approach their 50s, they still know how to bring the rawk.

The next half of the album is more decidedly experimental and subdued in nature, with quiet, sunny acoustic and piano-imbued numbers, no doubt inspired by Flea’s studies in music theory at USC. While not completely successful, some tracks stand out. ‘Even You Brutus?’ combines funky, hip hop beats and piano as Kiedis belts out like a Pentacostal minister crying the end times are near- Chad Smith’s furious drumming and Klinghoffer’s funky wah guitar accents create a grimy, rocking groove for Kiedis to spout his lyrical hooey. This portion of the album is where Klinghoffer seems to have the most trouble fitting his sonic brushstrokes onto the canvas the mix provides. ‘Police Station’ is perhaps the only track in these set of songs where his guitar is at the forefront, mixing a Rolling Stones-esque groove with elegiac lyrics and ascending chorus.

If ‘I’m with You’ doesn’t reinvent the wheel, it provides something the Chili Peppers needed much more: a solid rock record, and probably their most focused since 1999’s ‘Californication.’ There is a neoteric complexity to the musical arrangements and once again, melody is at the forefront. The real “problem” some will say, if there is one, is that this is the sound of a band perhaps a little too comfortable in its newfound groove; but in the lexicon of the Red Hot Chili Peppers, this is not adiaphorous by any means.