Jane’s Addiction "The Great Escape Artist" (Capitol Records) Released October 18, 2011

Interestingly, he also proclaims “We’ve become a big business” on “Irresistible Force,” the album’s first single. And, the paradox is put in place: These are 40-and 50-somethings making visceral punk rock like the angry, disillusioned teenagers they once were.

The 26-year-old band, which is also currently on tour, sound reenergized, revitalized and more essential than they have in years. Always a talented, tight-knit group, the members of Jane’s (currently original members Farrell, guitarist Dave Navarro and drummer Stephen Perkins, along with a rotating cast of bassists including session veteran Chris Chaney and TV on the Radio’s Dave Sitek) have the exuberance of high school friends reuniting, which, of course, in many ways they are. Adding to the mélange are collaborators like Guns N’ Roses bassist Duff McKagan, who performed with Jane’s back in 2010 and is credited with writing three songs on “The Great Escape Artist.”

It may have been easy to forget (or dismiss) Jane’s Addiction over the years, but, the band has blazed many musical trails. From exploding out of the LA rock scene as a refreshing alternative to glam rock in the late ‘80s (a time perhaps better remembered for big hair and even bigger egos) to evolving into a hit-making entity (“Been Caught Stealing,” “Stop” from 1990s “Ritual de lo Habitual”) to creating the rock music festival circuit as we know it today with Lollapalooza, the groundbreaking group paved the way for such bands as Nirvana and the Red Hot Chili Peppers (of which, Navarro later became a member).

Guitarist Navarro, no stranger to reinvention either, shows that he’s at his best and most inventive with Jane’s. His swirling, sensual riffs snake around songs like “Twisted Tales” and “Splash a Little Water on It,” creating the heady hard rock soundscapes the band is known for. Augmenting the bombast is a generous use of synthesizers, which only add to the mystical fuzz. Credit Sitek and Muse producer Rich Costey for this electro addition, but it’s a good thing.

“End to the Lies” is vintage Perkins, all pounding tribal drums that propel the track forward like an 18-wheeler barreling down the highway. His former partner in crime, Jane’s founding member Eric Avery isn’t along for the rollicking ride this time, but the band’s signature bass lines don’t suffer too much from his absence.

“Broken People” will call to mind the heroine (but not the heroin) of “Jane Says” from 1988’s “Nothing’s Shocking,” but this time it’s a gentler, wiser groove about sex, not drugs. The album’s closing track, “Words Right Out of My Mouth,” blends a cryptic spoken word intro with blaring sirens, madman drums, an undulating bass line and crashing guitar riffs (including a very rock star solo) that conclude like a reverberating crash of thunder. This listener, for one, was left stirred and craving more.

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