Red Hot Chili Peppers release album and Dark Necessities video
The Red Hot Chili Peppers celebrated the release of their 11th album “The Getaway” by unveiling a video clip for lead single Dark Necessities.
The video is fittingly dark with the band lounging around (in what looks like a brothel) as images of bruised and battered women flash by. The understated, retro funk of the song is reminiscent of Bobby Womack’s classic soundtrack for Across 110th Street (which was later featured in Quentin Tarantino’s Jackie Brown). The first part of the clip reinforces that connection. Viewers are later shown skating girls taking a few tumbles, giving a lighter hearted view on the cuts and bruises. Partying with a few drinks and hints at heavier substance abuse is also shown.
Olivia Wilde directs Dark Necessities
The Dark Necessities clip stars LA longboarders Carmen Shafer, Amanda Powell, Amanda Caloia and Noelle Mulligan. Vinyl actress Olivia Wilde directed. She made her debut as a director earlier in the year with the No Love Like Yours clip by Edward Sharpe & The Magnetic Zeros. Wilde commented on Dark Necessities to ET Online:
“I pitched them my treatment and they chose it based on the treatment, and they gave me a shot and I’ll forever be grateful because it served as another type of launch pad for me. I really found it to be a logical way to get your feet wet in directing because it is essentially an exercise in making a silent film. You have to learn how to tell a story without dialogue – that is really essential.”
Red Hot Chilli Peppers tap Danger Mouse to produce
The Getaway is the first Red Hot Chili Peppers album since “Blood Sugar Sex Magik” (1991) not to be produced by Rick Rubin. The band instead tapped Danger Mouse (Brian Burton). Both producers come from a hip hop background but Danger Mouse has more of a history of working with indie and left of field acts compared to the monster acts Rubin has become accustomed to producing.
Speaking to Rolling Stone, bassist Flea said he was initially worried about losing the human element in the band’s sound due to Danger Mouse’s production style.
“There was a lot of confusion about what the right thing to do was. We wanted to use a different process from what we were used to. Even though I felt I wanted to be out of my comfort zone and make myself vulnerable and do something new, I didn’t know what my right direction was out of my comfort zone.
“Brian wanted us to create in the studio. But the way we’ve always created was we went into the rehearsal studio, wrote all the stuff, put all the songs together and then Rick would come in during the last period and go through them with us and help us organize them. He’d tell us what was good and what wasn’t. And then the studio was just a place to document all the work we’d done in the rehearsal studio.
“Brian was saying, “OK, you wrote all these songs. Some I like, some I don’t. But I really want you guys to create and write in the studio with me there.” He’s from a hip-hop background and that’s how he puts down tracks. You put down a drum machine and add bass, piano and guitar, whatever it is. I was real hesitant to do that. It wasn’t because I didn’t like the idea of doing that process. I just didn’t want to lose the mightiness of us as a band, the raw identity.
“We played together and improvised. We had a spontaneity and a warmth, the human interaction that happens when you do that. I was worried that if we did too much of what he wanted to do, we would lose what was great about us. I was also worried that if we moved too far the other way, he wouldn’t get what he was good at. I was just like, “Fuck, we might end up getting stuck in this middle ground”.
“I just thought, “Well, look, we’ll go in and in the first week if it’s not happening, we’re out of there.” I was going to do what he wanted and embrace it and see what happened. The greatest hope in my mind was that we would be able to be ourselves, as powerful as we could be, and he’ll be himself in his most empowered way. It could be something new for us both. On the first day, it was apparent to me that was what was going to happen. I really felt great about it because we started writing in a different way. It was really fun and I started finding there was a thoughtfulness when we recorded like that and wrote like that, that we didn’t get otherwise.”
New material gives off vintage vibe
It seems Flea’s fears were not warranted as the band sounds very organic and groovy on “The Getaway”. The shift away from Rubin’s big, modern sound complements the vintage vibe of many of the tracks. Our full review will be coming soon.