Airbourne are a band whom it took a while to come around to. I vividly remember them being pedaled in the pages of Metal Hammer and Classic Rock, and the airwaves of 97.9 The Loop, our local rock station, upon the release of their sophomore album, 2010’s No Guts. No Glory. They were heralded as “the second coming of AC/DC”, and just like I said about Ghost and their inevitable BÖC comparisons that same year, my logic was, “Why do I need a “new” AC/DC when I still have the real deal?” Keep in mind that, at the time, Malcolm Young was still alive, Cliff Williams was still active, and Phil Rudd was a free man: All of which made the need for AC/DC 2: Electric Boogaloo even less necessary.
Now the hypocrisy of this logic, or lack thereof, is that there’s no shortage of Acca Dacca “clones” who’ve charmed their way into my record collection over the years. There’s euro AC/DC (Krokus), redneck AC/DC (Jackyl), hell, even Sunset Strip AC/DC, which happened to feature one-time drummer for the real AC/DC, Simon Wright (Rhino Bucket). Point being, at some time in the past 5 years, I gave Airbourne an honest to goodness reevaluation, and you know what? I’ve missed the fuck out on this band. Not only that, but as their career has progressed, I can’t even call them a full fledged AC/DC knockoff. They’ve truly carved out their own brand of raucous Aussie pub metal, fusing the finest aspects of their native countrymen, as well as the ’80s trad metal scene.
Their latest eponymous album is the culmination of over 2 decades of blood, sweat, and beers, treating us to everything we’d anticipate in an Airbourne affair and then some. The aptly titled opener, “Gutsy”, kicks off the album in high-octane, hard rocking fashion. We’ve got those high voltage guitar riffs, high speed tempos, and the signature razorblade roars of mastermind Joel O’Keefe. It’s all wrapped up in a glorious classic metal production that has been long since absent from the aforementioned Angus Young-helmed act’s sound since 1990’s The Razors Edge, the band instead opting for a subtle, bluesy production for better or worse. In this regard, Airbourne does have a leg up on their mentors, recalling the ferocity of Flick of the Switch (1983) and Fly on the Wall (1985).
My choice cut, “Alive After Death (Last Plane Out)”, is less AC/DC and more W.A.S.P., evoking an image of Blackie Lawless breezing through the desert on his chopper of choice. Other highlights include the sleaze metal bite of “Bogota”, headbanger duckwalk mania of “Hell’s Got No Vacancy”, and “Problem Child” meets “If You Want Blood (You Got It)”-esque attack of “Kid in a Candy Store” (“Suite 69 on the 2nd floor” is probably the lyric of the year). As the last sentence implies, there are certain songs on which one can draw parallels to specific AC/DC hymns. “Sky High” has a little “Back in Black” to it, and “Who Put the Rhythm in You?” is the “Moneytalks” of the affair.
Who am I kidding? There’s only so much one can do with two power chords and a basic rock n’ roll framework. Put it through Marshall stacks turned to the max played by a band of boneheaded Aussie bastards going balls to the wall, and you’ve got an album that demands your attention right now. Clock out of work early, tell your lady you can’t hang tonight, and put those errands off for tomorrow. Airbourne is ready to take flight, and you’ve got a one way, first class ticket to the hard rock heavens. Be sure to double check your seatbelts, because there’s gonna be extra turbulence!
7 out of 10
Label: Spinefarm Records
Genre: Hard Rock
For fans of: AC/DC, Krokus, Bullet
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