Deep Purple’s new album Whoosh was supposed to come out on June 12 this year. But then the coronavirus struck and record company pushed release date back to August 7. Apparently not everybody got the memo, and on June 12 the album went on sale through at least one online retailer (and was soon removed). Our contributor Hein Bierman managed to purchase a download copy and offers us his thoughts on the album.
A popular HD-audio site had Whoosh available for a short while on June 12th: they probably missed the mail about the changed release date. I bought a copy (24 bit) and played it several times over the last days. I didn’t get a booklet with my download, so there’s probably a few details about Nashvillian banjo players guesting on track #14 I have missed.
Here are my first impressions:
It’s a very strong album. The songwriting is of a high level. I think as time wears on, What the What is the song that probably gets skipped first, but that is only because there’s a bunch of really great songs here and time is limited.
Lyrically, it’s a bold, outspoken (political?) album. The boldness is not so much in addressing controversial topics, but in the prominent use of the first-person perspective. IG tells it like he sees it, and he doesn’t hold back.
Production wise, it’s more compact and less trebly than Infinite and the drums sound a little less prominent than on previous albums. Both Now What!? and Infinite gave you the feeling they were semi-live albums, recorded more or less in one session, but Whoosh feels more produced. Compared to the previous Ezrin albums, there’s a lot more sonic variety between the songs. The semi-live aspect is less prominent; for example, there are a surprising amount of background vocals on the album.
What I miss: an opportunity to get out the air guitar. I really love Birds of Prey of Infinite, and there’s no song like that on Whoosh.
IG: The star of this album. Sings like he’s afraid of no one, with a lot of bravado. The best reference for his singing style on Whoosh is Infinite’s All I got is You.
SM: Less flashy and more melodic than on other albums. Over the last 20 years his guitar sound has evolved a lot. I don’t miss the Peaveys.
RG: The variety of songs of on this album makes you realize how versatile RG is as a bass player. He plays rock ‘n roll, heavy and funk effortless and tight.
DA: Uses every opportunity to shine on this album, especially on synthesizers and piano. I could do with a bit more organ.
IP: There’s no drum-focused song on this album like Kiss Tomorrow Goodbye, but IP impresses on every track. Love that ride cymbal and the kick drum. Superb.
- Throw My Bones (3’38”): We all know this track as it is the first single of the album. It’s a very good introduction to the general style of Whoosh.
- Drop the Weapon (4’23”): great interaction between DA, IP and RG. They get a nice choppy groove going. IG has plenty of swagger: “little brother, I’m telling you now, your pride can take a hit.” One of the more organ-oriented tracks on the album.
- We’re All the Same in the Dark (3’44”): The riff is not really special, but as soon as IG starts singing the song gets a huge boost. Unusual guitar sound / style in the solo. The way SM bends the notes is unlike anything he’s ever done in DP. There are more background vocals in this song that on the previous five DP albums combined.
- Nothing at All (4’42”): This song’s a bit widdly widdly. I like it, but stylistically it would fit better on Rapture of the Deep than it does on this album.
- No Need to Shout (3’30”): After the intro reminiscent of Perfect Strangers, the song reminds me of Stormbringer. You hear Gillan revisiting his rock ‘n roll roots. “I got your message loud and clear. The meaninglessness is ringing in my ear. What a bunch of trash you’ve got exuding from your ass, that’s not the shit I want to hear. No need to shout, I’m hearing what you say.”
- Step by Step (3’34”): Vincent Price meets Purpendicular Waltz. Very good but also very gothic: DA a bit too eager to show his Transsylvanian credentials.
- What the What (3’32”): Nostalgic piano driven rock ‘n roll in the vein of Purple People Eater / It’ll Be Me. A bit forgettable, but every kick on that bass drum is right on the spot.
- The Long Way Round (5’39”): tight groove, instrumentally very strong. Can see this working very well live.
- The Power of the Moon (4’08”): the amount of vocal effects, combined with the prominent synths give it a retro flavor. Great bass! SM manages to get a very dark, Tony Iommi-like sound and add a groove to it.
- Remission Possible (1’38”): a short instrumental that sounds like four people having a great time in the studio while the fifth band member is checking if he’s left his wallet in the car, cleverly disguising that in all probability it’s very hard work to play something like this. Fades into:
- Man Alive (5’35”): when I heard this first as a single, I was disappointed. But it fits well in the flow of the album.
- And the Address (3’35”): the most live sounding song on the album. Doesn’t add a lot to the original, but it’s a great tune to revive.
- Dancing in My Sleep (3’51”): IG is 74, but this is a song where he sounds full of energy, like he drank a tray of Red Bull. This song is heavy, but it’s also funky. Great bass lines.
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Unauthorized copying, while sometimes necessary, is never as good as the real thing