The Red Hot Chili Peppers have conceived a new definition of groove in only a way that they could invent. If you are a sole patron of all that is older Chili Peppers, this may not even be your cup of tea.

This is a completely new band that almost took a turn for the worst in the years following “Stadium Arcadium,” with the departure of guitarist John Frusciante, a huge endowment that shaped the Chili Peppers’ sound since 1999. Frusciante escaped from the spotlight to continue his solo career, leading the band in what looked like a permanent separation.

During the band’s rift, Chad Smith played drums with his other band, Chickenfoot, while lead singer Anthony Kiedis tried primarily to do anything unrelated to Chili Peppers.

Two paramount alterations occurred between “Stadium Arcadium” and “I’m With You.” The first regards the band’s physical goofball bass player Flea.

Famously known as an improvisational, self-taught wild card, the 49-year-old bassist is becoming quite the composer. In the years following “Stadium Arcadium,” Flea enrolled to study music theory at the University of Southern California, while also participating in small side projects with artists such as Thom Yorke of Radiohead.

Like a 6-year-old discovering music, Flea takes in musical alliance like a sponge. Once you think he’s at the top of his game, he rediscovers what is missing, while sticking to what has always worked: the signature funk of the Chili Peppers.

“Happiness Loves Company” rides on a hard, almost honky-tonk piano riff by Flea, making it hard to come back to the reality that this is still the Chili Peppers. The jazzed-up trumpet solo in “Did I Let You Know” buzzes in no shyness of illustrating one of the most continuously changing bands.

The second major revision to the Chili Peppers was Josh Klinghoffer taking the invitation as new lead guitarist, replacing Frusciante’s psychedelic funk with a darker composed atmosphere.

The opening track, “Monarchy of Roses,” contests to that, a chaotic sound check atmosphere of over-distorted lyrics and guitar, followed by a dance-party of a chorus.

“Goodbye Hurray” speaks to the classic Chili Peppers: a hard, fast, funky outburst that’s easily one of the best songs of the album. Look out for this being a staple song for live shows next summer, next to “Factory of Faith,” what sounds like a disco-rock tribute to the ‘80s. This band is different.

It seems for the most part Kiedis, Smith and Flea wrote most of the album, and Josh Klinghoffer happens to play guitar over it. It’s expected, to say the least. But he does a great job.

Where Frusciante dominated at solos, Klinghoffer makes up with experimental riffs and an outstanding form: a great asset for a band whose sole purpose is to not lose that iconic groove, which they have not, and never will.