After months of anticipation, all signs indicate that Deep Purple’s new album, titled “SPLAT!”—continuing the band’s tradition of absurd titles—will be released on July 3. The first single promoting the record, “Arrogant Boy,” premiered online on May 12 at 8:00 PM, offering the first glimpse of the upcoming material.
The initial listen left me with a bit of dissatisfaction; however, subsequent plays significantly improved my perception of the track, gradually revealing its more complex structure.
In terms of stylistic continuity, it is worth noting that since the album “=1” there have been no significant lineup or production changes—Bob Ezrin once again handles production, working with the band in Nashville.
Roger Glover had previously announced several sonic adjustments: a stronger presence of the drum section, lower vocal registers for Ian Gillan, and reduced compression. These changes were meant to address some of the production shortcomings noted on “Equals One.” “Arrogant Boy” seems to confirm that these intentions have at least been taken into account.
Promotional claims describing this as the band’s “heaviest album in years” feel somewhat like standard marketing rhetoric, especially considering that nearly every recent release has usually been framed as either heavier or a return to the band’s classic sound.
At the same time, the track—also serving as the album’s opener—suggests a noticeable shift in emphasis toward the Airey–McBride duo. McBride in particular brings clearly audible influences from 1980s guitar aesthetics, reflected in both the riff construction and the overall texture of the piece. The riffs are rooted in classic hard rock but infused with a distinct metal edge, evoking both archival Deep Purple ideas (such as “Glabsplatter” from the In Rock sessions) and the style of Vivian Campbell during his tenure with Dio. Notably, McBride once replaced Campbell in Sweet Savage, making the comparison more than incidental.
This does not signal any radical turn toward heavy metal; rather, it reflects a subtle assimilation of influences. The relatively extended middle section recalls a progressive hard rock improvisation in the spirit of Don Airey, although much of it is executed on lead guitar.
From a performance standpoint, the band strives to maintain a high level of energy, which remains entirely convincing in the case of the instrumentalists. The vocal part presents a greater challenge—Ian Gillan, now most comfortable in lower registers, is faced with material requiring more dynamic expression. Compared to “Portable Door,” however, his performance is noticeably stronger: the vocal sounds more controlled, without signs of strain.
At the same time, questions arise regarding how well the vocal line fits the character of the composition. Gillan, who has often elevated otherwise average material, here remains solid but not particularly distinctive. The instrumental layer ultimately proves more engaging than the vocal one.
A key role in maintaining the band’s signature “Purple” identity is played by the Glover–Paice rhythm section, which preserves a classic stylistic foundation and provides a counterbalance to the more modern, guitar-driven elements. It is precisely the tension between these components that shapes the track’s overall identity.
The issue of length and structure also deserves attention. At just 3 minutes and 17 seconds, “Arrogant Boy” feels almost overly compressed, especially given the number of segments and the expanded instrumental section. In light of Gillan’s remarks (made during a pre-release listening session in a London studio) that the original versions of the songs were significantly longer—around 5–6 minutes—it becomes clear that Ezrin’s production decisions led to substantial cutting of the edges.
This results in mixed result. On one hand, the shorter format aligns with contemporary market trends favoring more concise, dynamic forms. On the other, it limits the natural development of the composition, which, for a band with such a strong instrumental tradition, feels like a noticeable drawback. At times, “Arrogant Boy” gives the impression of a “radio edit,” even though it is not.
Ultimately, this is a thoroughly solid track, though not an outstanding one. Personally, I tend to prefer later-era Deep Purple compositions that move away from the band’s established formula rather than attempt to operate strictly within it.
It is not a piece that redefines the band’s sound or sets new benchmarks, but it stands as a competent example of Deep Purple’s late-period output. Considering the musicians’ age and the evolution of the lineup, this level is entirely satisfactory. Importantly, the single effectively builds anticipation for the upcoming album—which, in the context of its release, may be its most important function.
