As AI inexcusably blitzes a forgettable culture of monotonous mediocrity, Deep Purple auspiciously land with a balls-to-the-wall Splat! to the good old days. This is what you call ‘musicality’ kids. If a band that spacetrucked and highway starred in the 70s can still produce songs this energetic and euphoric in their 70’s, there lies a greater hope that rock ‘n’ roll can keep sticking two fingers up to those vociferating for its obituary.
Rather ironically, this conceptual record explores the end of humanity. But not in the dire, terminal apocalyptic flaunt its oddly, onomatopoetic title suggests. Instead, it dissects the transformational finale of humanity, with frontman Ian Gillan envisioning it as a metaphor for our race metamorphosing into a metaphysical state, similar to butterflies.
With songs like the busty boom of “Jessica’s Bra” (born from an unfortunate type of the word ‘bar’) and the dizzying chorus hook on “The Only Horse In Town” (which sees Gillan’s lyrics gallop into a conversation between a man and a horse), it’s not the easiest hypothesis to deconstruct.
But who cares? The music is as heavy and wild as classic Deep Purple, yet still fresh and vital. There’s no denying this lineup works exceptionally well.=1 was the band enjoying a renaissance, but this is the sound of five gents upping the fun and fire — roaring, purring, and as explosive as they’ve ever been.
While there’s no sprawling, drawn-out epics, most tracks crack along at a rousing pace. Everywhere you turn, there are speedy, virtuosic instrumental passages, rollicking dialogue between the guitars and organ, and of course, the original vocalist, drummer, and bassist all agelessly strutting their stuff.
The interlude on lead single “Arrogant Boy” is one of the best things I’ve heard in years. It’s fresh, tight, and unmistakably DP. Jon Lord will live in the heart of all Deep Purple fans, but the ingenious keyboard skills of Don Airey never fail to amaze, with his Hammond solo on the devilishly good riffing of “Diablo” a personal highlight.
The exhilarating “Guilt Trippin’” might be their finest work this millennium, as a graceful jazzy piano intro is met by the evergreen Gillan unleashing some signature banshee wails, before the track descends into peak cosmic chaos. It’s the closest we get to the proggy side of Purple, but amid the titanic keyboard/guitar solo duels, there’s still room aplenty for the three pillars to shine.
Roger Glover’s fluid bassline on the funky “The Beating of Wings” matches MacBride’s fire-breathing tone, giving the band a truly incredible and vibrant energy, while one of rock’s greatest sticksman Iain Paice effortlessly pounds the skins on another pulsating shift in “Third Call.”
These aren’t men who are merely coasting on past glories. They still have a lot to say, yet absolutely zilch to prove. The new songs, musicianship, and the production (huge credit to Bob Ezrin) are top-class.
Splat! will hit you square in the face and you’ll feel all the better for it.
The Review: 9/10
– Arrogant Boy
– Guilt Trippin’
– Third Call