“Deep Purple doesn’t sound like Deep Purple anymore.” That’s a pretty common comment nowadays. Well, no shit, Sherlock! Besides, did they ever? I mean, when Ian Gillan and Roger Glover replaced Rod Evans and Nic Simper, Deep purple turned into a completely different beast, so much that no-one had complained if they changed the name of the band. When David Coverdale and Glenn Hughes replaced Ian and Roger, they changed again, more than many fans want to admit. Did the masterpiece Purpendicular (1996) sound anything like the brilliant come back album Perfect Strangers (1984)? No, it didn’t. Purple has always changed with their new members and the way I see it, that’s a good thing. As long as we get good material, that is – and we almost always do because Deep Purple very seldom gives us bad shit. Fact is, Abandon (1998) is the only time they have largely disappointed me.
With Steve Morse instead of Blackmore and Don Airey instead of Jon Lord, it would be strange if the band’s sound didn’t change. It would only sound forced if this version of the band tried to record a Machine Head (1972) part two. Since 2013 and the album Now What, legendary producer Bob Ezrin (Alice Cooper, Kiss, Pink Floyd, Lou Reed) has almost become the sixth member of the band which in turn mirrors the sound of the band. Today Deep Purple is more progressive and not as riff-happy bang-on-target as they used to, something that might have contributed to some fans of more conservative nature giving their new sound thumbs down. Personally, I think said Ezrin-produced record and its follow-up Infinite (2017) are brilliant albums, their best since Purpendicular and I love their new ways. Also, if you go see them live you’ll get to hear the classics anyway, so why bother complaining? This, of course, makes for some great expectations for the new, also Ezrin-produced, album.
Opening the album with the leading single “Throw My Bones”, Deep Purple shows us that they’re not old, just older. It’s an upbeat, highly grooved Classic Rock swinger with an orchestral addition over a somewhat laid-back arrangement. Airey’s keyboards brings a touch of dream-like arrangements but still with a chunky melody. It’s a mid-paced yet meaty rocker and maybe not ideal as an opener but it’s a phenomenal tune with killer hooks and great chorus all in the vein of later Purple releases. They pick up the pace with the chunky, classic Deep Purple rocking “Drop The Weapon”. With crispy guitars, a swinging rock-groove and Airey’s rowdy organ, this juicy cruncher is a winner – and I haven’t even mentioned the strikingly catchy chorus yet. The album sure started out in the best of ways.
“We’re All The Same In The Dark” is a pumping rock-blues groovy rocker, upbeat with a flowing rhythm and a meaty swing. This is where Purpendicular and Perfect Strangers meet under the supervision of Ezrin. Add some funky guitar solos from Morse, chunky backing vocals and hooky melodies and we have another winner. The chorus is also massive and takes a hold immediately. Great stuff. Latest single “Nothing At All” comes in a mid pace, slightly held-back but still with a swirling groove. Glover’s bluesy bass-lines and Airey’s fabulous keys brings on a steady ground and a broad soundscape. A bit lighter, the massive refrain hits right where it should and sticks right from go. A brilliant song, maybe one of the best this era of Purple has recorded.
The opening keyboard-riff to “No Need To Shout” is reminiscent to the one that’s on “Perfect Strangers”. The song continues with a classic Deep Purple guitar riff, a steady, beefy groove and a gritty Classic Rock feel all over. It’s a rough n’ tough rock’n’roll piece that also holds a passage where Airey shines with a jazzy piano solo. The chorus? Well, it shows up, says hi and digs its way into your skull and stays. Very good indeed. “Step By Step” is a bit on the progressive side, again in mid pace and highly keyboard-laden with an enormous organ sound that brings on a haunting spirit. Still, it’s rhythmic in a dark yet grandiose way. A big song with laid-back backing-vocals and a direct yet not hitty refrain – I dig this very much.
“What The What” is a more simplistic, straight-forward rock ‘n’ roll boogie number, taking us along to the next party-stop. With crunchy riffing, a swinging piano, a punchy rhythm and in-your-face melodies, the tune is here to make us get up and go. It’s a groundy, down-to-earth, meat n’ potatoes rocker, no more no less. I like it but it’s not remotely as strong as the previous tracks. With a nod back to the the days of old, “The Long Way Round” grooves with a classic RogGlov-bass swing and a solid drum-thud from Ian Paice. Morse’s guitar is crunchy and gritty and the massive keyboards from Airey gushes over us in a flood of sounds that belongs to the 70’s. It’s a classic Purple twisted tune with a nod back to the Fireball (1971) era but also a little hello to Ian Gillan’s Black Sabbath days with the line “I promised myself I would not get Trashed” again. Brilliant. Just brilliant.
“The Power Of The Moon” opens with an eerie, Alice Cooper esque keyboard intro – something I guess Ezrin had something to do with – and continues in mid-pace but still dark-edged and sullen and I’m thinking of “Vincent Price” here, the killer Now What? single. There’s an almost hypnotic keyboard-arrangement here but the groove is also quite thrilling and the guitar meets keyboard riff is intense and fat whereas Airey’s keyboard-solo is rowdy and ferocious. The melodies are blacker with a mystical touch which brings a ghost-like vibe over the song but they’re also very memorable and the soothing chorus gets under the skin that leaves me mesmerized. It’s a fantastic tune.
“Remission Impossible” is an instrumental, progressive tune in uptempo with a good, beefy groove. It do holds some musical equilibrism where both Morse and Airey gets to shine but all in all it feels only like a way-paver to the next track, the album’s second single “Man Alive” which starts out with an orchestral intro, at first laid-back and dark with an eerie “ooooooo” chant but takes a heavier and more punchy route, very groove-laden on a punchy beat. This also holds a progressive twist with dynamic changes, symphonic touches and spoken word over only keyboards from Gillan before the atmospheric soundscape and big fat groove comes back again. It’s a massive tune with a chunky rhythm and a spot-on chorus – an effective and awesome number.
The instrumental “And The Address” is a re-recording of an old track from their debut album Shades Of Deep Purple (1968), before either Gillan or Glover had joined the band. Only Paice is left from that era but the rest of the lot, especially Morse and Airey makes the tune their own. It’s an upbeat, swinging and danceable tune – catchy even. A very good song and better than the original. It should have closed the album, though. The closing track, however, is “Dancing In My Sleep”, one of my faves from this album. Starting out electronic, it moves further with an intense groove, even dance-friendly with a classic Purple trademark Classic Rock swing, making it a real party-rocker. The keyboards are huge, the guitars are rough and crunchy and every melody comes with a massive hook. With a mix of Blues, Hard Rock and latter-day progressive Purple where the chorus hits right on the spot, the tune brings on a taste for more. I love this.
Here’s the deal – I love the Ezrin era of Purple. I love the fact that Deep Purple has approached those albums – including this one – as if they would be their last. And this album is the best Ezrin-era record so far – this is a band that shows no signs of looking at the end around the corner. They’re vital, hungry and I get the feeling of a bunch of guys who still love every aspect of making a new record. It’s also a great sounding album, Gillan sounds really good and the whole band plays, as always brilliantly. But the album’s giant has to be Don Airey. His keyboards are given much room without taking over completely which makes for a broad soundscape which in turn adds to the already interesting listen that this record is. The nine-score is really, really close and if you have a weak spot for the last two records, you’ll love this one. This is a band that is far from over.
8/10
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Tracklist:
1. Throw My Bones
2. Drop The Weapon
3. We’re All The Same In The Dark
4. Nothing At All
5. No Need To Shout
6. Step By Step
7. What The What
8. The Long Way Round
9. The Power Of The Moon
10. Remission Possible
11. Man Alive
12. And The Address
13. Dancing In My Sleep
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