Now that sweet Autumn has come, (we’ll call it Fall), the Red Hot Chili Peppers’ latest record has had time to settle into the minds and playlists of both longtime and new fans. The Getaway is the 11^th studio album by the legendary band, but only the second after the addition of guitarist Josh Klinghoffer.

And that was a pressing question before the June release. Many had bemoaned the second (and final) departure of longtime guitarist and musical genius John Frusciante, which definitely affected 2011’s I’m With You. But The Getaway does not fall victim nearly as much to the previous albums’ tendencies for singles pandering to the desire for pop-rock and, shall we say, less than memorable lyrics.

This time around, the aging rock band embraces their stage in life and career. Anthony Kiedis’ mournful tones in “The Hunter” exemplify the Chili Peppers’ nod to their wild past, but also acknowledgment that it won’t be the same. “Can’t find my pants or my bank account, Don’t you slip away, Voices that start to betray.” The 13-track album finds a healthy balance of reclaiming the soul that put the band on the map and settling into the present.

The two singles of “Dark Necessities” and “Go Robot” are reminiscent of the Chili Peppers at their funkiest. Flea is the maniac on the bass that everyone loves. Chad Smith provides consistently solid percussion. And thankfully, Klinghoffer seems to have reached a groove and is more confident jamming with the trio that has been together for so long.

“The Longest Wave” will probably stand the test of time the best on The Getaway. The wave, like their musical journey, ebbs and flows. It is subdued at all the right times, letting each member contribute to the companionate feel. The listener rides their music with them in this song, is lulled, carried forward, and finally lifted up beautifully at the apex; “Just another way to play inside the universe, Now I know why we came.”

The Getaway holds a diverse amount of moods, too. “Detroit” and “This Ticonderoga” are call backs musically to the raw sounds of the critically acclaimed Californication. “Dreams of a Samurai” and “Goodbye Angels” interspace soft guitar and piano with sped-up vibes. Klinghoffer and Flea both contribute to the keys and backing vocals, and this variety, coupled with Danger Mouse producing one of their albums for the first time, contributes to the theme of new perspectives.

However, it is not the perfect record. Kiedis indulges his inclination to throw nonsensical lyrics on the page for a cheap rhyme. At times, Klinghoffer’s guitar seems too choppy and weak for the song, as in the first and title track. And heartbreakingly, Flea and Smith’s talents are not always fully realized, as when places in the album repeat note for note instead of providing them space to build musically.

But overall, the album provides a track list with the expected soul and jams of RHCP that are begged to be heard live. It won’t hold up to those who were expecting them to bounce back into the masterpieces of the Frusciante era, but it does well in its’ own right. The Getaway at once looks fondly on the journey that brought the band to this point, without being too bogged down not to look with anticipation into the future.