If you expect a Flea solo album to
be packed with whirlwind slapping
and Peppers-esque, high-energy
licks, get ready for a surprise.
Helen Burns, a brief
peek at Flea’s quiet side, reveals shades of introspection
and melancholy. The bass is still prominent—
songs like “Pedestal of Infamy” and “333” have plenty
of luscious low end—but not in the capacity we’re
used to from the wild one.