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'Show Me' with a killer rhythm from the start; a dynamite volcano making you headbang, unimaginable when you think about the age of our grandpas; Ian's rapped voice holds the road, Roger's imposing bass, Don at ease who jams directly with Simon the new kid as if it had been ages and Ian tapping effortlessly as if he hadn't aged a day; the perfect bluff with the heady riff. 'A Bit on the Side' with an impressive groove, the bass dull and burning, the sound like the early days; place synths in solo, heavy regroove then the solo that spurts, right, left, I dare to write with the madness of a Ritchie. 'Sharp Shooter' starts with the sound marked with a hot iron; good old entertaining hard rock with choirs and the moog solo part, enjoyable guitar, only happiness confirming for the fundamentalists that there is indeed prog blood in it. 'Portable Door' lively joy of creation of this energetic title shaken by keyboards; the voice is melodious, the air fruity, Simon's solo bluesy as desired, fat and Don's organ gives it his all. The provided riff which gives the potato and refers to the famous 'Black Night'. 'Old-Fangled Thing' continues, consensual, overrated, vintage filler title which reminds me of the first Kiss for the bass; title with a good solo. 'If I Were You' and the slow bluesy oozing, nostalgic; easy to lull the old fan, the sensual feeling of the solo for the symphonic synth finale. 'Pictures of You' as an imprint of the Deep sound: the voice, the tone, the reminiscences; a melting rhythm, a heady chorus where we start to hum. The organ finale reminds us that they are still there and the guitar which cries with joy.

'I'm Saying Nothin'' arrives, complex mid tempo supported by the heavy rhythm; energy to spare, an ambient prog chorus. Ian sings like in the first beat before the release of the fruity vintage keyboard solo, Don marking the progressive imprint of the Mark II 1st era. 'Lazy Sod' with the 3rd single: fast, moog on fire, it grooves, well recorded to the point that we would forget the imposing riff of the 70s and the Blackmorian guitar solo. Deep Purple with the critique of the world on fire, not on Montreux's 'Smoke on the Water'! A cannonball title produced by Bob Ezrin which allows to hold the modern sound. 'Now You're Talkin'' nervous with a phrased- rapped vocal which dares to launch a cry of yesteryear, to hope, to remember. The keyboard part prog, proto, heavy but enjoyable. Simon enjoys playing with Don the short but intense breaks. 'No Money to Burn' and the typical riff, everything is there, unwavering. The whirling solo of the Moog sets our ears and our speakers on fire. 'I'll Catch You' intoxicating guitar solo from the start; a marshmallow title, slow tempo highlighting Ian and his voice, does hard proto prog make you young? The bluesy heavy solo makes you want to hug your girlfriend. 'Bleeding Obvious' with its heady riff, Ian grumpy, belching, talking about a plausible ending. The most Purplinian title if I can write it; the Ritchie solo would not have done better, the Jon keyboard would not have done better; the tune flows naturally between nostalgia, vigor and musical time where we took our time.

Deep Purple releases an aggressive album made of short titles filled with astonishing keyboard/guitar breaks. Redundant titles exist but are calibrated to move minimally, the titles boosting the opus have the merit of showing the mastery of the musicians and their undisguised fervor, bluffing. Originally on ProgCensor.