The song begins with a vibe that immerses the listener in a rebellious atmosphere. This setting evokes imagery of the Louisiana swamps or the most hidden bars of New Orleans. It features a rhythm that inspires foot-tapping, creating an engaging experience. Latifa’s voice then enters, enveloping and hypnotizing the audience. Her charm captivates through her ancestral timbre, echoing the roots of blues and American gospel music.
Reeves showcases significant musical vision and a commanding personality that leaves listeners breathless. The song has a cinematic quality that feels perfectly suited for a film, reminiscent of “Sinners.” Her vocal delivery inspires exhilaration, capturing the essence of human emotion. The production quality of the track is exceptional, and it is clear that a lot of thought went into its development.
“God Willing” was co-written with Jim McGorman, known for his roles as keyboardist and guitarist for the Goo Goo Dolls. Additionally, the input from noted songwriter Robb Vallier adds another layer of credibility to the song’s composition. Together, they create a piece that speaks volumes about resilience and hope. The lyrics convey the importance of never giving up and continuing to persevere, much like the artist herself, who has passionately rediscovered her voice.
God Willing – Sound and Atmosphere
Latifa’s performance stands out as she draws listeners into her world. Her melodies have a hypnotic effect, skillfully merging elements of traditional genres with modern sensibilities. The arrangement is polished, demonstrating a balance between instrumentation and vocal delivery.
Lyrics resonate with anyone familiar with struggle. The message is clear: perseverance pays off, and her journey serves as proof. The production complements the lyrical themes beautifully, allowing them to shine simultaneously.
The instrumentation reflects a blend of bluesy guitar riffs with gospel-inspired rhythms. This combination creates a rich auditory experience that is fresh and nostalgic. Latifa’s delivery is powerful yet intimate, drawing the listener closer while maintaining a professional demeanor.
God Willing – Performance and Production
Listeners will find themselves swaying to the beat, lost in the spirit of the song. It becomes an anthem for anyone who has faced challenges and emerged stronger. The song is a reminder that the journey is just as important as the destination.
“God Willing” is a celebration of resilience. It acknowledges the struggles while shining a light on the triumph over adversity. This track is bound to resonate with many, stirring emotions that lead to reflection and inspiration.
Her music reflects her unwavering spirit, immediately connecting with the audience. As the closing notes trail off, it leaves an imprint that lingers long after the song ends. Latifa Reeves has a bright future ahead, and “God Willing” is just a glimpse into her incredible potential.
Intriguingly, this track is sure to garner attention, not just from her fans but from a broader audience. The blend of genres and messages will resonate with many, making it a standout release.
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With a generous helping of no less than thirteen original new tracks, Deep Purple’s new studio album ‘Splat’ (the band’s 24th) certainly does make a statement about Purple’s ongoing relevance. In fact it might be the album that ushers in yet another renaissance for the band.
Even on the first run-through of ‘Splat’, there is a sense of re-invigoration that permeates the album, off-set by the regularity of familiar sounds that any self-respecting classic Purple fan would demand. And yes, I would include in that description the sounds of the classic Mark II era that produced such albums as ‘Machine Head’, ‘Fireball’ and ‘In Rock’.
The album is jubilant, energetic and, especially with Ian Gillan’s wry delivery, quite joyful. I guess that this energy and joyfulness might be contextual, bearing in mind that several of the band’s more recent studio albums were borne out of the ashes of important line-up changes caused by death or family responsibility. At this point, though, the line-up is very settled, and what an accomplished line-up it is.
With the holy grail rhythm section of Ian Paice and Roger Glover sounding as tight as ever and with Ian Gillan in finer voice than we have heard him in years, a significant foundation for the album is set. But not to be left in their wake in any way are Don Airey, who has by now established himself as the worthiest possible replacement for the great Jon Lord, and the eminently talented Simon McBride, who consistently impresses. These days, it is McBride’s fluid and brilliant guitar stylings, combined with Airey’s thunderous keyboards, that underpin the band’s sound. This line-up has existed since 2022, but to my ears there is an overall polish and aplomb to the album that sounds new-found. While retaining many of its classic sounds and still introducing new ones, Deep Purple, in its Mark IX iteration, is sounding great.
Gillan’s droll, often sarcastic but always clever lyrics are a hall-mark that permeate the album and are an important reason why ‘Splat’ succeeds. Song titles like ‘Scriblin’ Gib’rish’, ‘Jessica’s Bra’ and ‘The Rider’ (describing rock star peccadillos rather than anything equestrian), give just a hint of Gillan’s lyrical wit and inventiveness. There might not be express lyrics about racing cars or groupies any more, but the themes and innuendos that one expects from Purple are still there, just couched in a slightly more sophisticated way. Apparently there is a loose quasi-apocalyptic theme to the album, but frankly this is hard to hear. Either way, the lyrics are just great.
And Gillan’s vocal delivery of these lyrics absolutely keeps pace. While no-one could expect him to emulate the insane wailing of ‘Child In Time’ at the age of 80, there is nonetheless a precision, maturity and polish to his singing on this album that is one of the main drivers of the spark of invigoration that I described. Gillan is clearly having fun again, and you can hear it.
As for the rest of the band, they sound remarkably tight and cohesive. There is no going through the motions here – Deep Purple obviously entered the studio with a clear intent and vision for ‘Splat’. The album sports an enviable symmetry between elaborate virtuosity on the one hand and effective simplicity on the other. Airey’s often Lord-inspired but always varied keyboard textures (from Hammond to Moog and everything in between) form an important part of this symmetry. His prowess is often on show, but always in the most tasteful and appropriate way. The same might be said of McBride, who counterpoints Airey’s varied keyboard parts extremely well throughout the album. McBride has more than entrenched himself in the important role of Deep Purple’s Lead Guitarist by playing with flash that is never excessive but taste that is never boring. Together, Airey and McBride have become a melodic powerhouse that is as important to Deep Purple as the igneous rock that is Paice and Glover.
‘Arrogant Boy’ opens the album quite brilliantly by harkening back to the fast-paced pulse of songs like ‘Highway Star’ and ‘Fireball’, now with a 2026 polish conferred in large part by McBride. Airey creates the underlying groove on madcap songs ‘Diablo’ and ‘The Lunatic’, while Gillan consistently provides memorable imagery in tracks like ‘The Rider’ and ‘The Only Horse In Town.’ The band gets quite bluesy and groovy in songs like ‘The Beating Of Wings’ (one of my favorites) and the powerful ‘Scriblin’ Gib’rish’, and then quite jazzy in ‘Guilt Trippin’. ‘Jessica’s Bra’ brings back the Boogie that was last heard in songs like ‘Lazy’, while ‘Third Call’ and title track ‘Splat’ allow Mr Paice to illustrate why he is still one of the greatest groove-meisters in all of Rock. ‘Sacred Land’ is weirdly Celtic in a heavy sort of way, but it generally works, despite Gillan’s slightly pompous delivery. There is the odd rare filler moment in tracks like ‘My New Movie’, but with thirteen new Purple songs of this general calibre on offer, who can complain?
Over its 51 minutes, ‘Splat’ traverses various diverse universes, from Rock to Blues, Pop to Celtic, Classical to AOR, and yes, there is even a little Prog sprinkled in here and there. Despite the conciseness of the songs, there are some really elaborate moments on the album, and this is one of the techniques that makes Deep Purple Mark IX unique. The band has a talent for leading the listener into expanded musical territories that are often a little unexpected, in spite of the self-imposed constraints of brevity.
The album sounds fierce, melodic, heavy and diverse, just as Deep Purple should sound, and the legendary Bob Ezrin’s production is powerful and sophisticated. All in all, you can look forward to a healthy chunk of Deep Purple nostalgia coupled with much innovation from ‘Splat’.
Bearing in mind the seniority of the band-members and the fact that they have been in the top tier of rock for over six decades now, this achievement is a notable one. The music is as weighty and unbridled as classic Deep Purple, yet somehow surprisingly novel and modern. It is at very least lively and full of energy. Don’t expect any ‘Child In Time’ epics, but comfortably settle in for some good, rousing, boisterous short rock songs of the good kind.
Never a band to rest on their laurels, Deep Purple continue to prove that they still have much to offer. ‘Splat’ is thoroughly enjoyable.
Released on June 3rd, 2026
Track listing (CD/2LP):
Side A
Arrogant Boy
Diablo
The Rider
The Lunatic
Side B
The Only Horse In Town
Sacred Land
The Beating Of Wings
Side C
Guilt Trippin’
Scriblin’ Gib’rish
Jessica’s Bra
Side D
Third Call
My New Movie
Splat!
This is the fourth album from US post-rock band If These Trees Could Talk. The Hidden Hand contains 42 minutes of post-rock soundscapes for the listener to explore. If These Trees Could Talk are able guides, highlighting areas of interest and places to be wary of as these nine expressive tracks unfold. This is post-rock … Continue reading “If These Trees Could Talk – The Hidden Hand (Review)”
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