I’m probably just throwing whatever indie cred I have left out of this twenty-three story window we call modern life, but let me say this: I like RHCP. I love Flea. I love that he once auditioned for Public Image Ltd. (which, incidentally, is a band that I love). I love his catchy, funky bass lines. I love it he’s still going strong despite playing for a band that has gone way past their prime (oh, how I fucking love – and miss – Californication’s absolute lack of pretension and great tunes to sing along to). So, when I found out Atoms For Peace would be a supergroup consisting of both him and Thom Yorke (whom I like, not love, but respect), along with some other guys no one cares about (just kidding), I was excited to hear what could possibly come out of their epic brainstorming. Amok, however, kind of failed to deliver – not that it is a bad record, it is actually a pretty great record, but I was expecting something funkier, something that would blow my mind away (then again, I should know hype is a very dangerous thing), and not just The King Of Limbs 2.0. Oh, well. I guess I’ll have to settle for dancey tunes such as “Before Your Very Eyes”, for the overall dub techno feel I get from this record, and for Yorke’s vocal take on “Judge, Jury And Executioner”, depressing-but-not-in-a-cut-your-wrists-right-fucking-now-kind-of-way, depressing in the sense that you could be chilling to it at the beach during sunset, like in a Café del Mar soundtrack or something of the sort. I like, not love, Amok; but I’m glad it came out and gave a reason for Yorkey and Fleayey to carry on with their rockstar lives past forty, that it gave them – especially Flea – a special kind of artistic credibility outside their regular bands. In a way, Amok might very well get some hipsters thinking, man, Flea’s pretty good, isn’t he? Why the hell did I hate RHCP in the first place? Why the fuck do I hate fun? Why isn’t James Blake in here?