Albums: Airbourne- Airbourne

Airbourne- Airbourne

Gutsy; Alive After Death (Last Plane Out); Here She Comes; Kid In A Candy Store; Sky High; Who Put The Rhythm In You?; Christmas Bonus; Last Man Standing; Rock ‘N’ Roll Ya; Bogotá; Hells Got No Vacancy Send Me To Rock ‘N’ Roll Heaven

(SPINEFARM)

Airbourne has never been a band particularly interested in subtlety. Seven years after Boneshaker, the Australian hard-rockers return with their self-titled sixth album – and they have absolutely no intention of reinventing the wheel. They’ve simply fitted it with bigger tyres and set it on fire, yet still there is a big debt musically to AC/DC though after six albums, it feels less like imitation and more like Airbourne has finally stopped worrying about the comparison. They know what they are, and they wear it proudly.

From the opening blast of Gutsy, the message is clear: turn it up, get out of the way, and let the riffs do the talking. Joel O’Keeffe’s gravel-coated vocals ride over enormous guitars and pounding drums, while the whole thing carries that wonderfully reckless sense of danger that has defined Airbourne from the start. These songs are best played loud at home or enjoyed in the throng at their live shows.

Alive After Death (Last Plane Out) and Kid In A Candy Store are exactly the sort of fists-in-the-air anthems the band do so well. There’s no shortage of swagger, huge choruses or riffs seemingly designed for thousands of voices to roar back at a festival. Last Man Standing keeps the accelerator pressed, while Bogotá adds another burst of energy to an album that rarely shows any word restraint.

Here She Comes and Who Put The Rhythm In You bring a slightly broader classic-rock sheen to proceedings, helped by the involvement of Bryan Adams and legendary producer Mutt Lange. Lange’s fingerprints are particularly interesting, adding a touch of polish without sanding away the band’s rough edges.

The album isn't without its weaknesses. At almost 50 minutes, the relentless attack can occasionally become a little predictable, and a few tracks blur together beneath the barrage of familiar riffs. But expecting Airbourne to suddenly become progressive rock would rather miss the point.

This is unapologetic, beer-soaked, speaker-shredding hard rock made for the open road, packed venues and festival fields. It may not surprise you, but it will almost certainly make you smile.