Somewhere in 1991 as a teenager I was watching Deep Purple story titled “Heavy Metal Pioneers”. There was Joe Lynn Turner, Ritchie Blackmore and Jon Lord in the MkV Deep Purple incarnation. At the end of this program the question about Deep Purple future was asked. Jon Lord at the piano was playing romantic variation of “Cut Runs Deep” riff. He replied it would be cool if they reached 25th anniversary or something to that effect. It was strange feeling like some belle époque was going to an end…
Right now we are approaching 50th anniversary of Deep Purple (April 20, 2018). Jon is not with us, Ritchie still is, but it seems like he musically left the building some time ago…
With 20th studio album ”InFinite”, Deep Purple begins the long farewell with the fans. They are approaching or already are in their 70’s, so making any plans at this age, is like playing with the devil, what they frankly admit, but there are still high hopes, that if the health allows, that “InFinite” despite the meaningful title, does not have to necessarily close the Deep Purple album saga.
Good commercial and critical acclaim of last album caused that we did not have to wait 8 years this time, but it still took about four years since premiere of ”Now What?!” to deliver. Comparisons to “Now What?!” will be inevitable as a new album was recorded by the same lineup, the same place and producer Canadian Bob Ezrin at the helm.
Therefore everybody subconsciously expected some kind of “Now What?!” 2, also the band themselves referred to “Now What?!” as some kind of benchmark, only suggesting exploring heavier and more progressive approach. But still heavier and more progressive was their standard reference to each album of the late, so frankly I did not know exactly what to expect beforehand. Resemblance to “Now What?!” is not as big as one could expect and this is quite different album in mood and style.
We got 10 new songs including The Doors cover, and still the shortest album from all Steve Morse albums closing around 45 minutes mark. Several compositions last less three and the half minutes and only three songs are stretching to six minutes mark.
OK, so let’s finish this to long introduction and come to the point. Is “InFinite” better than “Now What?!”? In my opinion yes. I find it better and more enjoyable album. What I can advise is to give the record full two-three spins and all the boxes should click in and fall into place as it is not the easiest album at first sight. The reason for such state of things is rather unusual for Deep Purple song structure. Deep Purple used to be a band that offered quite simple riff driven dynamic music with repetitive structure of verses choruses and solos. Here they depart from this song formula more than ever before, what may seem confusing at the beginning. Multi style and condensed approach can be seen both as strength of flaw of the album depending on one’s perspective.
The Star of the show is definitely Ian Gillan. Seventy two years old from circa 1984 is under constant critique for the demising voice. Here he seems to surpass his current vocal abilities almost.From the mere vocal point, it must be the best Gillan album since his “Toolbox” days of 1991.
In the documentary “From Here to Infinite” - from the recording session Gillana says ‘I used to be an angry young man… and now I am fucking furious again’. And there is something to it more than just formal PR bullshit. There is something mysterious and intangible about Gillan here, expression, delivery, atmosphere tension in lyrics, emotions – aggression, melancholy, darkness but also happiness and humour. All the small nuances which in condensed form present pill of best of Ian Gillan style, closed in the 40 minutes of music. He is fucking Leonard Cohen of heavy rock.
The whole album starts with computer modulated Gillan speech as introduction to the dark vision presented in “Time for Bedlam”.
Part which may seem controversial or out of place at first sight, works well in the context of the album. But it is not the only speaking moment here similar solution is proposed this time in more relaxed and funny approach as remembrance of one of his maybe not the most satisfying sexual experiences, somewhere in the middle east, presented in the song “On Top of the World”. It shall be advised not to be listened, while eating to avoid choking, in particular with mouth full of rice…
Vocal part of the “The Surprising” - the “beast” song on the album should get to Gillian’s canon as his top 10 ever material. “The Surprising” starts with the wicked devilish Don Airey, sounds which could lead us as well to “Vincent Price” from “Now What?!”. Then unexpected ballad motive begins - Metallica “Fade to Black” meet “Mama Said” is good point of reference. Ian Paice introduces The Shadows like sixty in style rhythm, and above that we have sadden and nostalgic Gillans voice which makes it just perfect. ‘It wasn’t quite the curse of Tutankhamun or the kiss of death from Judas in the night’.
As a counterpoint to reflective Gillan’s part, there is the middle “devil” part of the song. It comprise several loose improvisations linked together with Ian Paice drum staccato. It starts with Airey going oriental and returning to devil part, which leads to Jazz Rock oriented Dixie Dregs section to end with soft synthesized piano inspired by someone like Chopin (one of Airey’s favorites). However Don would not be him, if he did not used cheap sounding synthesizes instead of real piano though.
Stylistic mix up, which in theory does not have the right to work, at the end works amazingly well. Elements, which seems to be thrown in, by some ill-advised accident, after couple of listens gel into a an epic musical story which builds up to something extra-ordinaire fresh and new in Deep Purple repertoire. Bob Ezrin have a small production mistake here as for the moment click track can be heard in the background courtesy of wrongly fitted headphones of one of the musicians.
Gillan sounds great throughout the record and raise the bar for the songs, which otherwise judging by their instrumental content would not be classified memorable. Examples – “One Night in Vegas” (derived from “Almost Human”), powerful but funky “Get Me Outta Here” or “Hip Boots”, which are all lead by strong Gillan’s vocal performance.
After Gillan - purple rhythm section (Ian Paice and Roger Glover) shall be appreciated and it does not disappoint a bit. Ian Paice gives the music very personal and distinctive drive and character with utmost jazz groove and feel which is hard to find with modern drummers. Simultaneously in songs like”Get Me Outta Here” or “Birds of Prey” production inspiration with John Bonham house sound, is obvious.
Generally if “Now What?!” had couple of stylistic references to Black Sabbath sounding parts (“Vincent Price”, “Out of Hand”) on “InFinite” one can hear stylistic hits associated commonly to other gods of metal - Led Zeppelin. Second best song here is Zeppelin sounding “Birds of Prey”. If anything in Deep Purple back catalogue reminds this - it may be mixture of heavy sounding “Soon Forgotten” from “Purpendicular” and progressive floydish “Before Time Began” - from “Rapture of the Deep”. Fireball “Fools” can also spring to mind in the drum department. This song also builds upon of several pieces three vocal parts, monumental riff and several solo sections which ends up dramatically this magnum opus of the whole album. Here Steve Morse dominate the proceedings having been give his 5 minutes to develop longer solo and Bob Ezrin made him sound bit Gilmour’ish. For me “InFinite” ends on “Birds of Prey” high note…
What shall be noted for the first time in Deep Purple history, Steve Morse has fully rocking sound and his playing is not “progressively squared” or “wooden”. While relatively economical and less “widdly widdly” his playing seems relaxed and more in the background, but gels and fills in perfectly with others giving it more roots and modern overall sound. He effortlessly reinforces the climate of the particular tracks, without being bit annoying, what would happen to him in the past from time to time. He is bit perfect here.
Depth and heaviness of the album, does not come from the power of the guitar riffs (no pro tools driven distortion sound), which Ezrin avoids (so fans of heavy metal playing may be sort of disappointed). Bob Ezrin offers more laid back but very pleasant and not ear fatiguing sound almost harder version of Pink Floyd, but still with some depth and impact, which works perfectly with full drums sound and very heavy and deep sounding Glover’s bass.
In insight Don Airey does not shine this time as on couple of previous albums. He delivers great solos on various synthesizers vide “All I Got is You” or “Birds of Prey”, but his Hammond solos disclose some concert routine sound where sometimes speed dominate the songs context or melodical aspect.
Is this hard rock, yes, but is delivered with modern quite unique purple sound, which create some separate school of rock playing to be associated mostly with current Deep Purple. Someone expecting Black Sabbath approach of delivering carbon copy of their historical sounds, may be disappointed, Deep Purple is not intending to recreate their past.
If anything connect this album to “Now What?!” it is overall house sound and mixing approach courtesy of Bob Ezrin. “InFinite” seems to be more dynamic, more stretching out, but still very much to the point album. Album has very lively sound, not much overdubs so, there is no impression that you need three guitarists and five keyboard players to recreate it in the live environment. So the songs shall sound well in the concert halls.
Has “InFinite” any flows? Of course it has a few. In several songs the solos are democratically split between Morse and Airey, both playing short parts one after another, but sometimes it does sound like Airey, was exactly referring to what Morse played beforehand and not always the solos adds up to the songs.
Overally the songs are up to standard but couple are saved by Mr. Gillan and more songs in style of “The Surprising” and “Birds of Prey” would be welcomed but it will never happen. The lower points in the game (leaving the cover aside for the moment) are bit popish “Johnny’s Band” patchwork, but still nicely played and even introduced as single in their native England. Also if you live aside hilarious speaking part “On Top of the World” has some “Abandon” feel to it of not fully developed idea. Album has something from “Abandon” dark mood here but this time it is more organic and polished up work but still fresh and you can hear that it was not too much time spent on developing the musical parts here on the purple team.
And the biggest album disappointment - final song of the album and ill-advised The Doors cover “Roadhouse Blues”. It is hard to understand this decision and why the song made the album in first place. Cover delivered in one take live within 30 minutes, has a similar role as “It Will Be Me” on “Now What?!”. If it was sort of bonus track (b side) - OK, but right after epic “Birds of Prey” we have this lazy uninspired standard blues playing which has nothing in common with the rest of the album and in my opinion destroys the album final momentum.
It is recommended to get the album with additional disc which include excellent documentary “From Here to Infinite”. It looks like some wonderful piece of musical documentary and you can applaud fun, clever, but honest and down to earth approach of the band. Full of emotions while Steve speaking about his wish to be the last guitarist for the band with reference to his arthritis what may end his guitar playing impossible for him sooner or later (the same problems Blackmore’s suffers as well).
Also for the first time ever proper advertising and promotional campaign from the Earmusic helps the album tremendously. It will be interesting to see how and if it will chart. It’s also relief they can prepare to the end their carrier on high note they really deserve. It is also clear that album success may be additional incentive for them to continue and give them a chance to write something about the 21st album sometimes in the future. So fans vote with your wallets.
Hard rock and even metal slowly starts to remind the jazz. It is domain of the old timers and pensioners, who do not want to exit the stage. Deep Purple is one of few active dinosaurs here on earth and lets enjoy this when it last, as their time is coming ‘until the death until the death of time’…
