The Red Hot Chili Peppers have endured a two decade era where they started from the trough of all pitfalls and then ascended
to the apogee of the mountains above to grace the clouds with their legendary exploits. This breakthrough in fame is partially due to the cultural influences that abounded when they were about to hit the fame, but the success is largely due to every portion of their music steadily improving from a slap-a-dap, unorchestrated street rap to genuine music . One of the improvements that have occurred over these years is the lyrical content within their albums, which had transcended from silly analogies of everything in the world to female genitalia to the use of actual metaphors that are deep in conception and warrant listeners insightful reflection upon their
message. Indeed, Stadium Arcadium, which is essentially a renewal in asserting that they have come a long, long way from their impoverished beginnings, is filled with this expertise in
poetic melody. This is due in large part to the maturation of the four members within the band, and simultaneously, Kiedis’ recent personal connection with religion. This becomes apparent when one examines the lyrics themselves and often finds the use of pious adjectives and verbs throughout the rhyme. Kiedis (and Frusciante) use this to great effect, wielding it like some fiery blade to effectively accomplish their mission of setting the album’s message in stone: that music itself is something divine. They slam this memorandum home through rampant use of repetition, repeating lines that carry the heat of each song’s thematic hum with a consistency that can be accounted for as a constant. The use of all of these devices is a testament to two items: one, the Chili Peppers’ songs are now actually poetic to the point that empathy with an audience can occur, and two, they’re continual perfection has not end in sight.