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And Beyond! - 60%

SweetLeaf95, March 25th, 2018

First and foremost, it's absolutely insane that Gillan & co. can still pump out tight songs this far into their career, and at their age, without just flat out running out of ideas. Not that old bands can't write good music, I mean just look at Judas Priest's Firepower. The difference is, though, that Deep Purple haven't really surfaced an album that was greatly talked about in decades. I enjoy it all, but seldom do you find many people who dig anything after the late '80s. Infinite is hardly a metal album, but a bluesy and jazz influenced rock and roll album for sure.

While there aren't really any tracks that jump out and grab you, every song still has a magical vibe that makes you want to move to it. Don Airey floods this entire record with catchy keyboard licks that can definitely hold up to Jon Lord's abilities. But what's really important here is the fact that the songwriting is still there. There's vocal harmony and plenty of rhythmic guitar melody to keep the flame alive. I'll admit, there's a pretty gross amount of auto-tune here, but rather making up for poor vocal delivery (because it doesn't need to), it just aims to crystallize the production, which I can't say I'm a fan of. If they would can that, I can assure that the production would be better off. There is a little bit of variety here; with some tracks aiming for a radio-rock approach such as "All I Got Is You", while others like "The Surprising" try to throwback a little more and appeal to the longtime fans that crave a bit more musical depth.

When it's all said and done, there isn't much more I can say about this, because not much else really jumps out. Should Purple make more records after this? I always embrace bands to keep on going no matter what, but I would be fine with this being the last one. Nothing they do is flat out terrible. Seeing that I got this when it came out a year ago, my opinion hasn't changed, and it didn't have a "new album" shock to it. This certainly isn't anything to praise, but for sure worth picking up, or at least the 45 minutes of your time.

A Substitute For Soporific Drugs - 64%

Psycho_Dome, September 28th, 2017

I can go all the way back to 1990 when I first heard Deep Purple; a buddy of mine gave me a cassette tape of In Rock because he said, and I can quote verbatim, 'I don't want it–they weren't really that good', and they're not, and never have been–at least when compared to Led Zeppelin or Black Sabbath. This new album, while sounding proficient, is generally another underwhelming release, much like In Rock, Burn or Machine Head. And, where I've compared Deep Purple to their peers, if I updated that comparison, it would be like comparing Slayer to Testament, with Slayer being the modern day Black Sabbath and Testament being like the equivalent of Deep Purple.

There's no doubt that this band have always been able to play proficiently, and they still can, even without John Lord and Richie Blackmore, with their replacements, Don Airey and Steve Morse, delivering an adequate, yet unremarkable performance, making the entire album sound like an old man, pensioner version of Deep Purple. The songs seem to float around in a nice kind of way, with the intention on playing hospital waiting room instrumentals, with an average song craft, and an average riff set; there's also the pleasant grandad kind of vocals played over the top.

There are a couple of good aspects to this album which are that there's very little repetition. It's also worth noting that the songs are not bloated in any way and the album manages to clock in at just under 46 minutes, however, by 20 minutes, if you're over 60 you'll be asleep, and the young amongst us will be yearning for something with more fire. It might just be the fact that this isn't really hard rock, let alone metal–it's more of a jazzy kind of album, which at times tries to be edgy or epic, but fails; for instance, 'The Surprising' is a slow burner, with the bluesy type of lyricism you could imagine listening to if you were sitting on your own, while downing a bottle of Jack. I can just picture this mob doing a few rounds down the pub before strolling into the studio half-cut and thinking that they're edgy.

Another issue is the lyrical content and subject matter where Ian Gillan belts out some spoken word parts which are based on his own observations, along with a couple of expletives–without the howling sound of his earlier years. This leaves it up to Airey and Morse to supply the drive, though, that never materializes. The better material was actually released prior to this album; 'Time for Bedlam', 'Hip Boots' and 'All I Got Is You', are available on two EPs, although, the first two sound hurried, like the band were yearning to get back down the pub. 'All I Got Is You’ sounds like the best song, and as the album comes to its final conclusion they deliver the prog. rock-esque, 'Birds Of Prey'–a style which might have made things more interesting, however, that thought is interrupted by the final song, '‘Roadhouse Blues', which only serves as throwaway filler and sounds out of step with the rest of the album.

Overall, it's an album which is technically proficient while being completely dull, however, this album should appeal to a certain audience; to any fans of Deep Purple who are in their 70s, I'd recommend having a look at the two E.P. releases before considering this album. And, if you have a weak heart and don't need any stress, or if you just want to fall asleep to music with a Deep Purple sensibility, then this one might be for you. If this is their last album, then they've come full circle with their first album, because that one is completely forgettable, as well. Adios, Deep Purple.

Running on Finite - 76%

HeavyMetalMeltdownReviews, June 18th, 2017
Written based on this version: 2017, CD, earMUSIC

Let’s face it, Deep Purple are a bit like going back to an ex-partner. After a while of not thinking about it, something reminds you of a different time, you get that warm glow of nostalgia and familiarity before remembering why you stopped in the first place. In the last 25 years, Deep Purple have adapted their sound due to various circumstances. Firstly, guitar legend; Ritchie Blackmore left in 1993 creating huge shoes for his successor in the shape of Steve Morse. Secondly was the retirement of the late Jon Lord from the band in 2002, Lord’s position filled by the one and only Don Airey and lastly was the march of time and strain on Ian Gillan’s voice.

Interestingly enough, most of the older bands that were written off by the media in the 90’s as dinosaur acts, that were bloated and had expired have been writing the albums of their careers, most of which are back and stronger than ever. Deep Purple are actually no different, they have been experiencing, well, how else do you put it? A purple patch. This began with 2013’s 'Now What?!' album which was met with hugely positive reviews and this rolls over into Deep Purple’s most recent release; 'Infinite'.

Just like the previous Deep Purple album, 'Infinite' has once more been produced by esteemed legendary producer Bob Ezrin. It would seem that Ezrin has brought the best out of Deep Purple as 'Infinite' has attained a sound that is classic Purple with a slight modern twist, this sound manages to hark back to the days when Deep Purple ruled the world, yet humbly shows everything which Purple have been forced to endure over the years.

'InFinite' begins with the first single from the album; 'Time for Bedlam', which starts with a spoken word introduction as Gillan’s soliloquy is phased through a mechanical/computer effect – a bit odd, but it works, before launching into the classic Deep Purple sound, a distinct Hammond Organ hammering along with a distorted guitar that instantly likeable as Deep Purple grind along to a song that brings back memories of 'Pictures of Home'. In fact, 'Time for Bedlam' wouldn’t actually be out of place on 'Machine Head' and that alone shows the strength of 'Infinite'. 'Time for Bedlam' isn’t the only track that has this vibe, 'Get Me Outta Here' and 'All I Got Is You' have all the classic Purple swagger, the latter having a rising arpeggio into a crescendo before Airey delivers a cracking synth solo that would appeal to any fans of 'Burn'. 'One Night In Vegas' could easily be the spiritual successful to 'Strange Kind of Woman', however, the track would also fit in perfectly on 'Purpendicular', the only downside is that it is saddled with a pre-chorus that sounds a little too much like 'Junkyard Blues' from 2005’s 'Rapture of the Deep'.

The main reason why 'Infinite' works is that it sounds like it was recorded in 1972 – a testament to not only the band, but to Ezrin too as both Morse and Airey sound as if they are using both Lord and Blackmore’s gear giving a sound that every Purple fan has been requesting for a very long time. However, there are a few downsides to 'Infinite', Gillan’s voice is nowhere near as powerful as his heyday and his lyrical worth has always been sub-par, but this is secondary to the music as it has always been with Deep Purple. As well as this, 'Infinite' does tail off towards the end, 'Birds of Prey' is not memorable in the slightest and having 'Roadhouse Blues' finish the album is a ludicrous way to finish an otherwise decent album. Sadly, time is against Deep Purple with all the members in their late 60’s or early 70’s barring Steve Morse, it begs the question, never mind infinite, Deep Purple are now on finite time and if 'Infinite' is to be their final album, then it is a good way to bow out.

The future's uncertain, and the end is always near - 100%

Empyreal, May 13th, 2017
Written based on this version: 2017, CD, earMUSIC

Deep Purple is now over 45 years into their career and they've put out a new album, inFinite, that proves why they're one of the greats. I won't claim that this is as good as their classic run like Machine Head and Burn, without their youthful energy or innovative vigor, but I will say I haven't been able to pry it from my car's CD player or my headphones since I got it the day it came out.

These guys are just good at making music. They have it down pat – every note on here is bright and expressive and put exactly where it needs to be. These are songs with no fat or excess, with every piece put together expertly to be as entertaining as possible. The songs are snappy and well-written, full of the groovy riffs, celeritous keys and headstrong vocal work that we've come to love from this band over the years. True – Ritchie Blackmore is long gone and Jon Lord has passed on, but their replacements for the last several years, Steve Morse and Don Airey, sound on-point and tight in their roles. I like that they've maintained their identity and don't just sound like some cover band on here.

The band has referred to this as “their jazz album,” and I can see it – it's a mellow, lighthearted exercise at its core, focused on dizzying instrumentation and quirky showboating in the context of these tight, hooky rock tunes. These are short songs and they don't go on any long jam sessions or anything, but each one is imbued with something special and different from the others, whether it's the proggy, storming riff-and-keys combo of “Time For Bedlam,” the jovial, almost dancey melodies of “One Night In Vegas,” the swinging, low-end groove of “Get Me Out Of Here” or the slow dirge “Birds Of Prey” - the band has served up a varied, colorful listen. On “The Surprising,” you get slow, smoky 70s-style balladic chords that open up into a mystical prog rock epic with atmosphere bleeding from every note and the awestruck, poetic lyricism alike.

Lyrically they do a lot of good stuff on this – the aforementioned “The Surprising” and “Birds Of Prey” are the more serious and ambitious, meditating on life and death in the former and the human condition and propensity for war in the latter. Elsewhere, they spin humorous, quirky tales of bad romance, the perils of aging in a changing world and drunken escapades, among other fables – check out “On Top Of The World” for a particularly clever one, as the last half of the song dips into a keyboard-backed narration segment that turns a drunken escapade Ian Gillan experienced years back into something fantastical and bizarre, with a real sense of wonder. This is all written with humor and levity, and the band really has a voice that carries over from the lyrics to the music alike. You can tell they liked writing this, enjoyed every second of it, and that kind of enjoyment is infectious to the listener.

Everything on here is basically just perfect. The songs are all written to be super catchy and entertaining, and Ian Gillan – goddamn, what a talent. What fucking great charisma. Check out the verses of the sarcastic, biting second single “All I Got Is You – have you ever heard a 70+ year old man with as much attitude and style as this guy? It's just awesome.

The fact that they close this album with a cover of The Doors' “Roadhouse Blues” is pretty telling – the whole thing has the air of contemplating the band's own mortality and impending, inevitable end, but this song really hits it on the nose:

The future's uncertain, and the end is always near
Let it roll, baby, roll


I don't know how much more we'll get from Deep Purple this late in their careers – and hell, it'd be awfully selfish to demand much more than they've given us over the years. But if this is the end for them, I'm glad inFinite is an irresistably strong, wonderful album.