Magnum is an institution in British melodic pomp rock. Somewhat progressive, somewhat hard rocking, but always with a catchy chorus and with earworms aplenty.
The Serpent Rings is their 21st studio album. It was released on 17 January 2020, and was the first Magnum album to feature Dennis Ward on bass after long-time bassist Al Barrow left the band in June 2019. There has been a bit of a personnel shift in previous years as well, with longtime drummer Harry Hames leaving in 2017 to be replaced by Lee Morris. Also, in 2018, keyboardist stalwart Mark Stanway quit (for the third time since originally joining in 1980) in the middle of a tour, leaving room for Rick Benton to join.
This leaves Bob Catley (vocals) and Tony Clarkin (guitar and songwriter) as the only members from the 20th century. They have in fact worked together since 1972, and the new album shows that all the changes may have stoked the fire in their bellies. This is simply speaking one of their best albums since their 1980s glory days, with insistent, energetic performances from all of them.
So what does Magnum sound like in 2020?
Really good. Really, really good.
So what’s new? They were always good champions of melodic rock, going back to the classic albums of 30-40 years ago. These days, though, there is a matureness in their sound that makes each song settle very nicely.
Their music has obtained a heavy quality over the years – and I’m not necessarily talking about the heaviness that comes from the power of guitar riffs or being loud, but rather from a quality of having lived it, having genuine and powerful things to say, and not choosing obvious or easy solutions in their music. They are simply speaking really interesting to listen to with a deep substance, often yielding immediate rewards.
The band skilfully play to each song’s strength, making sure every moment counts as far as delivering a melodic hook, an emotional connection, or an instrumental interlude that it good in itself but also make you curious for what comes next.
And then there’s the voice. Bob Catley sounds amazing on this record. To be honest, he has struggled live at times in recent years, and there has been every sign that it would be hard for him to continue. It is obviously possible to work at it in the studio, but still, to hear him sound so vital and full of energy is a delight – especially keeping in mind that he was 72 years old when these recordings were done. He delivers above and beyond what we are allowed to expect.
In most of the 1980s (especially as the decade went on) the band used keyboards in the manner which was customary, at times giving them a very light and somewhat dated expression. The opening track Where Are You Eden? is a good example of how different their approach has become in the years since. The song starts with a light string arrangement before the band comes in. In place of cheesy Fairlight keyboard arrangements, there are darker layers as well as a huge orchestral arrangement which bolsters the music in a whole different way.
Every song is played with an inner conviction that only years of experience will bring. At this stage in the game, Magnum are instantly recognisable as themselves. Their sound is established, and the fact that all their songs stem from Tony Clarkin is another constant. Clarkin has always been the songwriter of Magnum, and most writers have their peculiarities, even when they try different approaches.
Each song has its unique approach and features very interesting sections, layers, and arrangements. “An album takes me about fifteen months to write,” Clarkin says. “Then it takes about three months to record.” This reveals an approach where quality and attention to details are very important. On this album in particular, that is very obvious.
One such example is found in You Can’t Run Faster Than Bullets. The verses have an interesting keyboard-based rhythm pattern, going into a riff-heavy chorus with an interesting vocal melody on top. The solo is also fairly gritty, and ultimately the song contains some of the more heavily brooding moments in their catalogue.
Madman or Messiah is a great example of the contemporary Magnum sound. It is a perfect mid-tempo rocker, embracing harder sounds as well as containing a deeply melodic side. It’s quintessential Magnum, containing all the elements that belong in their sound. The song speaks about the cult of personality and self-proclaimed messiahs.
All in all, the album covers a wide range of subjects, including contemplations on ecology and environmental issues in songs like Man. “It contains not only fantasy, but a lot of reality as well in different songs” said Clarkin in an interview with World of Metal Magazine. “It’s difficult for me to talk of one of them because I will take a lot of time to do it.”
It wouldn’t be Magnum though without the fantasy element, though. The Serpent Rings also presents Magnum from their dreamy, magical side, the title song being a perfect example – and a direct reflection of the amazing artwork courtesy of Rodney Matthews.
Matthews’ amazing fantasy imagery has adorned most of their albums after 1983’s Chase the Dragon, becoming as synonymous with the band’s imagery as Roger Dean is to Yes. He usually includes references to previous sleeves, this time featuring the Storyteller from their classic On A Storyteller’s Night (1985).
Including the Storyteller again in the artwork was one of Tony Clarkin’s briefs to Matthews, but to depict him as a reluctant warrior kneeling with his sword. Clarkin also mentioned false prophets and a hall with pillars with a light source giving a smoky or indistinct background. Hmm.
To figure out what this is all about, Clarkin advises us to look closer at The Serpent Rings song: “The title track started out as a science fiction story but continued to evolve over time and even features a slightly bizarre side today. I’d describe the song as an eerie and somewhat creepy fairy tale.”
Can’t wear a veil to disguise who you are
Burning the sun from your
Serpent rings on every
Finger, gold and silver
Magnum have never been chart darlings in their native England. The Serpent Rings made it to #36, which is a step back compared to the previous album Lost On the Road To Eternity (2018). The band have frequently seen more success on the continent. The new album peaked at #5 in Germany, making it their most successful release there to date. It also reached #7 in Switzerland which puts it on par with their biggest commercial success Wings of Heaven (1988). It also saw several lower chart placements across Europe.
We can only wonder how far this album had been able to go with the band actually touring behind it. It was released early enough in the year that the recording and release wasn’t impacted by the global pandemic, but their touring plans most certainly were. The band has used their non-touring period well, and a new album tentatively entitled Dance of the Black Tattoo has already been announced for 2021.
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