Though I’ve been aware of Australia’s Airbourne and their unapologetic AC/DC worship for years, I’d never listened to an album before picking up the promo for their sixth LP, Airbourne. Despite not being well-versed in Airbourne’s back catalogue, I spent years absorbing their main muse poolside, barside, and carside. Thus primed, I not only jumped into Airbourne, but the band’s other five albums as well, immersing myself in their blues rock-infested waters. In the promo notes, Airbourne asserts this self-titled effort is their best one yet. Maybe, but we all know it’s a long way to the top if you want to rank ‘n’ roll. So does Airbourne leave us thunderstruck, or feeling like the band’s just beating around the bush?
As on prior outings, Airbourne delivers reliably raucous tunes that wear their inspirations on the sleeve. “Gutsy” leads off Airbourne with a rowdy anthem that never fails to get my fists pumping and the floor thumping, and it plays like an amped up version of “Heatseeker” as well as Airbourne openers “Ready to Rock” and “Breakin’ Outta Hell.”1 It’s a well-constructed hard rock banger that captures AC/DC’s free-wheeling, scene-stealing antics, and I haven’t been able to stop playing it. “Kid in a Candy Store” and “Hells Got No Vacancy” exude similarly compelling charisma, anchoring essential tracks throughout the album’s runtime. The sleigh bells and holiday theme on “Christmas Bonus” will quickly remind listeners of “Mistress for Christmas,” and the tongue-in-cheek lyrics and straight-shot riffing recall moments throughout AC/DC’s discography. Despite all the references to Acca Dacca, though, Airbourne tailors the formula just enough to create music that stands alongside their biggest inspiration rather than completely in its shadow.
Besides adding a few other influences to round out their sound, Airbourne swells with infectious cock rock swagger. “Alive After Death (Last Plane Out)” thrums with The Cult-like energy, specifically recalling “Fire Woman”‘s lascivious luster, while “Rock N Roll Ya” bites with Def Leppard teeth and “Bogotá” breaks into Van Halen noodling, even throwing in some spoken-word shenanigans evoking “Hot for Teacher.” Throughout Airbourne, the band showcases tight songwriting and instrumental prowess as they toe the line between arena-ready choruses and sweaty rock ‘n’ roll braggadocio. Singer/guitarist Joel O’Keeffe sizzles with Brian Johnson grit and Angus Young licks, capturing the one-two punch that makes AC/DC so damn effective. Joel’s brother Ryan mans the drums, loosing a workmanlike performance befitting famed pocket drummer Phil Rudd, while longtime bassist Justin Street locks in the low-end with no-frills grooves supporting the direct nature of Airbourne’s music. Newcomer rhythm guitarist Brett Tyrrell completes the quartet, complementing O’Keeffe’s lead lines with Malcom Young-like accents.
I imagine Airbourne would have been a juggernaut back in the 80s, and here they bring the olde ways to current days. Airbourne was recorded on tape, and though it’s polished, the album boasts an authentic crunch that sounds big and, in its best moments, dangerous. Glimpses of menace and originality flash often enough to make Airbourne exciting, yet I find that Airbourne takes too few risks in their songwriting. Although individual passages crackle with intensity, songs’ overall effectiveness gets dulled by the sense that the band is playing it safe, both by staying close to inspirations and earlier material. The lyrics also present a mixed bag, where cheeky double meanings are a delight, but other times can be too on-the-nose (“Who Put the Rhythm in You”). And while Airbourne mostly does a good job whetting tracks’ distinct identities, some moments blur together (“Here She Comes” and “Who Put the Rhythm in You”).
Airbourne doesn’t supply any new experiences, but it packs enough fun to make time with it worthwhile. Singalong choruses, bawdy double entendres, and head-bopping, air guitar-inducing leads keep me coming back. After listening to their discography a couple of times to prepare for this review, I’m not completely convinced that this is Airbourne’s best record yet, but it might be. Their first two albums evidenced a band establishing their sound, and the next two stretched the limits of what came before as they evolved their songwriting. Now seven years removed from fifth album Boneshaker, this foursome from Down Under breaks their silence with a rousing platter of hard-rockin’ heat that takes what came before and ties it all together. Whether you’re a longtime fan or just looking for fun new tunes, you won’t regret getting Airbourne.
Rating: Good!
DR: N/A | Format Reviewed: Dirty Stream Done Dirt Cheap
Label: Spinefarm Records
Websites: Website | Bandcamp2 | Facebook | Instagram
Releases Worldwide: September 4th, 20263
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