The ’20s have been a bittersweet decade to be an Iron Maiden fan. Despite the shackles of COVID, the band managed to put out a new album in Senjutsu, finish up their Legacy of the Beast Tour, and embark upon the even more brilliant Future Past Tour, which focused on the Somewhere in Time era. There’s been no shortage of new music in the side project department as well, from the likes of Steve Harris (British Lion), Adrian Smith (Smith-Kotzen), and Bruce Dickinson (solo). Throw in fare from former Maiden voices Blaze Bayley and Paul Di’Anno, and the iron-upping becomes even more prevalent. Sadly, Di’Anno would pass not long after his proposed comeback, and Nicko McBrain would finally retire from the live stage after 41 years of holding down the beat for London’s finest.
Why the wordy recap on the NWOBHM’s greatest act to kick off this review? Because occupying their own branch on the Maiden family tree is Airforce. Led by Soundhouse Tapes era drummer Sampson, we last heard from Airforce half a decade ago, when they rearranged our face with sophomore outing, Strike Hard. Just as we were starting to worry, the veteran outfit have returned, proving that third time is the charm with their latest, Acts of Madness. Similar to Strike Hard and Judgement Day (2016) before it, the Maiden influences are unavoidable. However, Acts of Madness manages to carve its own identity, coming off like an obscure English metal relic circa the latter half of the ’80s, when many were still wandering through the post-NWOBHM haze.
From the opening blitz of “Among the Shadows”, Airforce lay down the law with a muscular display of Dickinson-esque vocals, courtesy of Flávio Lino, and dynamic twin guitar leads that come solely from co-founder Chop Pitman. Many of the songs adhere to a formula that I can best describe as “Maiden meets Accept”, which might sound peculiar on paper, but give one listen to anthems like “Life Turns to Dust”, “Heroes”, and “Hacksaw Ridge”, and you’ll know exactly what I mean. Your fists will be punching the air and heads banging in midtempo scynchronicity in no time.
The rollicking “Westworld” might just be my choice cut, a proper, high speed slab of pure English steel, although the melodic prog metal atmosphere of “The Fury” manages to captivate in its own unique way, conjuring shadows of Somewhere in Time. There’s even a rapid-fire instrumental jam in “Obliterated”, and while the Maiden comparison is ever so obvious, making it here would just be lazy. I’m getting too much of a Traveler “journey through the stars” vibe throughout. Cosmic Maiden, perhaps? Speaking of, Acts of Madness closes by addressing the elephant in the room, I mean, paying homage to Sampson’s roots, with an impassioned rearrangement of one of my favorite Maiden tunes, “Strange World”.
Aside from an occasionally dodgy production/mix job, which never manages to take away from the power of the performances or songs themselves, I have no complaints regarding Acts of Madness. It is what it is: Molten meat and potatoes English metal that’s blatantly post-NWOBHM, while simultaneously pre-anything from 1987 onwards. Fear not Yanks! Those of you boasting the likes of Angel Witch, Saxon, Tygers of Pan Tang, and of course, Maiden, on your battle jackets will gel with this release in no time!
7 out of 10
Label: RPM ROAR
Genre: Heavy Metal
For fans of: Iron Maiden, Accept, Traveler
Leave a Reply