Magnum's 'The Monster Roars' - Album Review

You can almost set you watch by the release schedule of the British melodic rockers Magnum. The five-piece have been very prolific over the years, having released their debut album Kingdom of Madness in 1978, but recent years have often seen the band doubling down on this prolific nature. Despite a break between 1995 and 2001, which saw frontman Bob Catley and guitarist Tony Clarkin operate under the name Hard Rain, Magnum have essentially been 'at it' since 1978. There have rarely been long gaps between new releases, and the band are seasoned road dogs - often touring heavily throughout the UK and the rest of Europe. They are a much-loved band as a result, and they are a band that I have been listening to for a number of years. It was probably a combination of hearing both 2007's Princes Alice and the Broken Arrow and 1985's classic On a Storyteller's Night not long after the former's release that turned me on to Magnum, and I have never really looked back. I think it helps that, alongside a busy release schedule, the quality of the band's output has generally remained high. There are no Magnum albums that I dislike (although I should note that this point that the one Magnum album that I am still yet to hear is 2002's Breath of Life, which is generally considered to be relatively poor), although of course some are better than others. Magnum are a band which I can listen to at any time really too, and they can sometimes be seen as the musical equivalent of comfort food - due to their unwavering and satisfying sound. I generally put Magnum albums in one of two categories, however: 'excellent' and 'solidly enjoyable'. Some Magnum albums really excel, whereas others are not quite as good but still good listens nonetheless. The band's last album, 2020's The Serpent Rings (which I reviewed here), very much falls into the former category, and the album is one of my favourites of Magnum's recent run. It was the debut of the band's current line-up, and it really returned to the pomp sound of the band's heyday in a big way - with some of the band's modern grittiness dialled back. 2018's Lost on the Road to Eternity (which I also reviewed here), however, is definitely a resident of the latter category. It contains some great songs, but it runs out of steam about two-thirds of the way through. Magnum's post-reunion discography is generally about a 50/50 split between the two camps, which is not bad given the band's large output. A couple of weeks ago this discography was added to, as the band released their twenty second studio album The Monster Roars. This new album is the second by the band's current line-up, and it is their first release for a while not to feature a Rodney Matthews album cover. Matthews' work is such a part of Magnum's identity that the few albums not to feature his art look out of place in the catalogue. The Monster Roars' artwork is rather strange and unsettling too, but luckily the music within is very much what we have come to expect from the band.

For me, The Monster Roars falls into my second category, but there is still an awful lot to like here. It reminds me quite a bit of 2009's Into the Valley of the Moonking with its mix of relatively restrained pomp and gritty hard rock. The title track opens the album in a slow fashion. Rick Benton's swirling keyboards and stark piano melodies are the first things heard, but it is not long before Catley starts to sing atop them. The first verse is very laid back as a result, and it eases the listener into the album - before Clarkin's guitar crashes in to herald the arrival of the first chorus. Clarkin's tone is beefy here, and his riffing throughout the song is typical of what is to come. He has never been the most inventive of soloists either, but his lengthy effort after the second chorus - which is backed up a great upbeat groove from bassist Dennis Ward and drummer Lee Morris - is full of melody. By the time the song comes to an end it is a very different beast from how it first appeared, and the album's hard rocking tones are very much established - although some keyboard flair from Benton in the closing minute or so adds some grandness to the piece. Remember is next, and the song is another highlight - largely due to its infectious chorus and endless hooks. The song is very typical of the sound that the band has been following since their early 2000s reunion, but I really like how it opens - piano-led again, but with some great Clarkin guitar leads. The song then builds throughout the verse, with Morris' staccato drumming and Catley's smoky vocals dominating, before it explodes into what is the album's best chorus. Catley's vocal hooks are full of his trademark warmth, and he sounds as good as ever delivering Clarkin's lyrics. Instead of a guitar solo this time we are treated to an upbeat instrumental section that features some inventive bass playing from Ward early on, but soon transitions into one of soaring keyboard swells and piercing piano. Establishing an early theme, All You Believe In also opens with Benton's piano - but this time Clarkin's guitar kicks in much sooner, and the track overall feels weightier as a result. The interplay between the guitar and the piano works well, however, with the two often providing counter-melodies for each other - with neither instrument truly dominating. Catley sings above this interplay well, his vocal power allowing him to soar above this cacophony. The chorus is another typical Magnum moment, with mid-paced grandeur and subtle symphonic swells replacing the verses' general weight. I Won't Let You Down breaks the piano theme, and instead leads with Clarkin's guitar from the off - with a choppy, rhythmic riff dominating the verses. The song is one of the album's shortest cuts, and is therefore pretty straight forward in terms of arrangement. I do like how Ward's bass plays against the guitars during the verses, however, as it gives them some character - and Benton's keyboards join the fray in a big way during the choruses to add some atmospheric depth.

The Present Not the Past is the album's first somewhat slower piece, and it reins in the general guitar toughness of the opening songs - at least at first. The song's early moments give the impression that it will be a ballad but, despite starting slowly, the song is generally another trademark Magnum mid-paced rocker. The verses are quite low key, however, with acoustic guitar chords and Benton's piano providing the backdrop for Catley's voice - while the the rhythm section add a sombre beat. The pre-chorus and chorus see the sound fill out, though. Clarkin adds a groovy little riff to the pre-chorus that injects some energy to the track, while the chorus itself sounds huge - with layers of harmony vocals and ringing piano chords. A symphonic bridge section adds some extra instrumental flair late on, too - giving the song an overall well-rounded feel. No Steppin' Stones, which is one of the album's singles along with I Won't Let You Down, is an upbeat AOR-esque rocker - although the addition of a horn section helps it to stand out. Magnum have worked with horn sections before, but it is not something that they have done too often. Aside from Clarkin's hard-hitting guitar rhythms, it is actually the horn section that dominates. They constantly add little licks here and there, and there are extended sections which see them take the lead. It might mean that the song is hard to pull off live as a result, but the melodies played by the horn section are not generally that different from those that the band would have used keyboards for in the 1980s - so maybe Benton can replicate them on stage. The song would certainly go down well live too, as it has a great upbeat vibe and another strong chorus that brings the best out of Catley's voice. That Freedom Word opens relatively slowly, and again gives the impression that it is going to be a ballad. Much like The Present Not the Past, however, the song is not very ballad-like in general - although it does shift back and forth between slower passages and those which are much heavier. Benton's keyboard work throughout is quite atmospheric, which is helped by some aching bends from Clarkin, but perhaps the best moments of the song are when Clarkin is operating at full tilt - with a razor sharp guitar tone that really cuts through the mix. Your Blood is Violence, which is the album's longest song at just under seven minutes, opens with some uncharacteristically funky keyboard sounds - but Clarkin's guitar soon joins in which suddenly makes them sound more like Magnum. He might not be the flashiest guitar player, but he has such a recognisable style and sound that he can make anything sound like Magnum with his rhythm playing, even funky organ! Due to Benton's organ, the song has a great groove throughout, and it is another highlight for me thanks to this 1970s-esque sound and another powerful Catley vocal. It also helps that song contains another excellent chorus. Most Magnum songs have decent choruses, but there always a handful of real winners of every album. Your Blood is Violence is one of this album's best efforts on that front, thanks to Catley's gritty vocal melodies and a tough overall attitude that shines through Clarkin's playing.

Walk the Silent Hours is another slower piece, but this one remains so throughout - so has a ballad-esque vibe as a result. Benton's keyboards dominate the track, and whether he is delivering shimmering strings or piano melodies he excels. It is still a shame that Magnum and former keyboard player Mark Stanway parted ways after so many years together, but throughout this album (and the previous two) Benton has proved to be a perfect replacement. Walk the Silent Hours is almost a showcase piece for him, as all of the other instrumentalists generally hold back. The song's chorus does get bulked out by Clarkin's guitar, but much of the song is very much led by Benton. There are few genuine ballads here, which means that Walk the Silent Hours proves to be a pleasant change of pace. The Day After the Night Before is much more upbeat, however - and the track is probably one of the hardest rockers here, at least during the parts that see the band operating at full tilt. Like many of the songs here, it shifts back and forth between atmospheric sections and hard rock moments. The chorus here is another winner, and this is partly due to its hard-driving attitude. Clarkin's guitar is full of venom, but the melodic flourishes added by Benton (who later impresses with a short retro keyboard solo that could have sat on an early Rainbow album) add some of that classic Magnum pomp. Catley sings the chorus in his typical powerful manner too, although there are layers of harmonies to back him up - which only helps the chorus to sound even bigger. The song is another highlight as a result, and a great harder rocking addition to the album. Come Holy Men, another strong cut, opens with a slightly strange sounding melody - which I am not sure comes from Clarkin or Benton. It might be a guitar/keyboard combination, but either way it sounds a little different for Magnum. It works well, however, and as soon as Catley starts to sing the song, unsurprisingly, sounds like Magnum. Despite this strange riff, the rest of the song is very typical of the album - and indeed the band's wider canon. Another great chorus is packed full of classic Magnum hooks, and the song is very familiar overall despite the opening riff. The album comes to a close with the slower, yet epic-sounding, Can't Buy Yourself a Heaven which is typical of Magnum album closers of late. It has plenty of big piano lines throughout, and there is also something of a theatrical feel thanks to Catley's dramatic vocal approach. This is particularly evident during the song's verses, which have a punchy feel thanks to Benton's piano approach, while the choruses are more typical with plenty of band's trademark grandeur. Clarkin also takes the opportunity to include a pretty lengthy guitar solo, which is full of bluesy melodies. There are not a tonne of guitar solos here, but the last track certainly benefitted from the inclusion of one - and it fits in with the overall dramatic and epic feel of the song. In truth the album as a whole is pretty dramatic and epic too, but fans of the band should expect this by now. The Monster Roars does not add anything new to the Magnum sound, but no-one was expecting it to. What it is though is another very solid album that contains a handful of standout tracks. The melodies are riffing sound as good as ever, and while it might not be as good overall as The Serpent Rings it is certainly another enjoyable release.

The album was released on 14th January 2022 via Steamhammer/SPV GmbH. Below is the band's promotional lyric video for No Steppin' Stones.