Deep Purple’s latest studio offering, “Splat!”, is a masterclass in carefree longevity and enduring creative fire. Decades after their inception as a revolving door of elite musicians, the band continues to defy the laws of aging.
Rather than winding down, they have soldiered through line-up changes, tragic losses, and faux-retirement tours. The machine is running smoothly, and the show goes on with undeniable swagger.
Following the departure of long-time guitarist Steve Morse, the addition of Simon McBride has breathed vibrant new life into the band. McBride fits seamlessly into the line-up alongside keyboard wizard Don Airey and the iconic rhythm section of Roger Glover and Ian Paice. This latest era of Deep Purple feels increasingly liberated, striking a perfect balance between their 70s progressive rock roots and a looser, more relaxed approach to contemporary hard rock.
The album opens with “Arrogant Boy”, which dares to be tongue-in-cheek and polemically political. Utilizing classic British wit and dripping with sarcasm, the track features appropriate, prime-70s prog-rock solos by McBride and Airey.
The surprising “Diablo” makes way for country superstar Keith Urban to strum along on guitar, while Ian Gillan goes off on a tangent about a woman performing impressive tasks in the great wide open. It looks weird on paper, but it is far more palatable than one would expect.
Lyrical wit remains a focal point on “The Rider”, a slower, mid-tempo rocker that pokes fun at the demands and timetables printed on concert promoter riders.
“The Lunatic” dips back into vintage Purple territory musically, where Gillan wisely adapts to a darker, semi-spoken delivery rather than attempting forced high-register screams, creating a beautifully quirky mood.
The bluesier “The Only Horse in Town” stands out as one of the most accessible tracks on the album, carrying an endearing narrative quality.
The album’s midsection showcases the band’s musical versatility. “Sacred Land” begins with a dramatic, Rainbow-esque intro before settling into a strong mid-tempo groove characterized by interlocking rhythmic shifts between McBride and Airey, retaining an eastern flavor throughout.
“The Beating of Wings” shifts the pace with a nice, melodic chorus and neat guitar interplay that easily stands on its own.
The final stretch of the record leans heavily into eccentric experimentation. “Guilt Trippin’” is beautifully zany, blending 70s vibes with rock-and-roll pianos, scorching solos, and lyrics that mimic a frantic internal monologue.
“Scriblin’ Gib’rish” manages to be spirited musically while remaining playfully inane lyrically, even name-checking older Deep Purple tunes.
The humor continues with “Jessica’s Bra”, a double-entendre-rich, self-aware story driven by classic rock tropes.
On “Third Call”, a loose lyrical concept about a man avoiding the phone gives drummer Ian Paice center stage to dominate the mix with prominent drumming.
This is followed by “My New Movie”, a faster, bass-driven rocker featuring a driving bass line that anchors Gillan’s eccentric spoken-word performance.
Finally, the title track, “Splat!”, serves as the album’s penultimate piece, offering a conscious, adventurous take on humanity’s current trajectory before coming full circle with a massive, Beatlesque chorus.
Ultimately, “Splat!” proves that Deep Purple has nothing left to lose and everything to enjoy. Frontman Ian Gillan wisely trades the screaming of yesteryear for a commanding, theatrical, and sarcastic delivery. While the album leans into eccentricities and loose narratives, the sheer musical tightrope act performed by the band makes the entire record endearing. Against all odds, this legendary band has delivered an album that is vastly better than anyone had any right to hope for.
