Author: Peter Podbrežnik
Artist: Magnum
Label: SPV Records
Release: 2011
Rating: 4.5/5
Magnum, Britain’s champions of melodic rock with an art rock streak, have made their fifth record since reuniting in 2001 with “The Visitation”. Right off the bat it has to be said that, in all their efforts since to bring back the magic that made them famous in the eighties, they have never sounded as convincing as they do here. And let’s not overlook such excellent achievements as “Brand New Morning” (2004) and its predecessor “Into the Valley of the Moon King” (2009).
The first thing you notice, even before you pop the record into the player, is that the album title is a bit more modest this time, less pompous, and the return of the classic Magnum logo is encouraging too, since it graced two of their most cherished releases back in the eighties. A big old gallon of renewed confidence surely had a hand in the band going all out in the studio and squeezing out the very best of their sonic and compositional strengths, which will delight above all those who were convinced that since the reunion they weren’t “the real deal” anymore, or that every release of the past ten years was missing something.
With Magnum, everything hinges on the legendary partnership between guitarist Tony Clarkin and vocalist Bob Catley, who are also the only two original members. Clarkin usually writes all the music and lyrics, but Catley is the band’s most recognizable face, and when most people think of Magnum, they usually think of him. His successful solo career has certainly also done a bit to boost the band’s popularity and visibility among (let’s call them) the younger generations. Even though his best singing years are behind him, he can still hold his own against plenty of younger vocalists from related rock genres.
Besides being a full-blooded Magnum album stylistically, “The Vistation” is, once it gets going, full of small but pleasant surprises, which will disarm anyone who was convinced that they’d long ago “said it all” and were slowly running out of new ideas. “Black Skies” is a punchy, dramatic opener, as befits any self-respecting Magnum album. A metallized guitar riff blends potently with a melancholic layer of Stanway’s synths, creating an almost apocalyptic mood. “Doors To Nowhere” is the real incarnation of that authentic Magnum epic the fans have been waiting for pretty much since their debut. A majestic chorus, woven through with thrilling harmonies between guitar and keyboards, is capped off with a mouth-watering Clarkin solo.
The title track glides happily between hard rock bursts on guitar and progressive rock arrangements on keys. Surprises don’t run out this time either, since the electronically spiced synth solo even recalls their early work from the end of the seventies, when the prog rock element in Magnum’s sound was even more pronounced.
“Wild Angels”, a somewhat more AOR-tinged creation again, is also among the album’s highlights, and that’s mostly thanks to its epic chorus. Catley is excellent on vocals throughout the album, but he’s especially convincing in this chorus, helped along by a fairly erotic lyric which, for Magnum, where fantasy worlds usually rule the lyrics, is more the exception than the rule. The seven-plus-minute “Spin Like A Wheel” proves that, despite their respectable mileage, they’re not running out of ideas anytime soon. It’s a real art rock treat with plenty of tempo changes, clever time shifts and the obligatory melodic, epic chorus.
“The Last Frontier” has an almost solemn, awakening atmosphere thanks to its majestic symphonic arrangements. It’s the kind of composition that doesn’t promise much in the opening section, but gradually unfolds nicely and gains depth, and then flows straight into the melancholic “Freedom Day”, which at times sounds like a battle march. The two songs are bound together by a rousing lyrical theme, so you could even talk about a conceptual kinship.
“Mother Nature’s Final Dance” is an eco-conscious power ballad. Even though this kind of environmental preaching has become almost a trend within rock music in recent years, Magnum handle the subject in an unobtrusive way. “Midnight Kings” is the most straightforwardly hard rock number on the album and a chance for Catley to show off his vocal acrobatics once more, something you wouldn’t exactly take for granted at this stage of his career. The closing power ballad “Tonight’s The Night” is a majestic finish to an album that impresses in every respect. For the finale, they came up with the idea of using pompous multi-part vocal harmonies again after a long time, which turned out to be a smart move.
“The Vistation” is undoubtedly the best album since the band’s resurrection ten years ago, which means it won’t leave a single longtime fan of this legendary group cold. The successful blend of modern production with a slight eighties pulse and the return of the classic Magnum logo are clear signs that Magnum have finally managed to get back to the standards that marked their best releases. Of course, “The Vistation” isn’t the new “On A Storyteller’s Night” (1985), “Vigilante” (1986) or “Wings Of Heaven” (1987), but still, of all the Magnum records since the late eighties, it comes closest to their quality. There’s simply nothing to criticize about this album. The fact remains that, despite the years, Magnum are in great form, and honestly, they haven’t sounded this good in a long time.
Lineup
Bob Catley – vocals
Tony Clarkin – guitar
Mark Stanway – keyboards
Al Barrow- bass guitar
Harry James – drums
Production
Tony Clarkin
Track list
1. Black Skies
2. Doors To Nowhere
3. The Visitation
4. Wild Angels
5. Spin Like A Wheel
6. The Last Frontier
7. Freedom Day
8. Mother Nature’s Final Dance
9. Midnight Kings
10. Tonight’s The Night
