Airbourne – Airbourne (Spinefarm Records)
A self titled album, especially one that’s a band’s sixth record usually indicates a change of membership or a reinvention, so I was interested to see that Warrnambool’s favourite sons Airbourne new album is called Airbourne and I braced myself for some trad jazz. It never came. Obviously. Airbourne will never, ever do away with their blue collar rock n roll sound inspired by AC/DC, Rose Tattoo, Motorhead and any band that party’s hard and rocks harder.
They even say as much on album closer Send Me To Rock N Roll Heaven, where they pay tribute to those rock heroes we’ve lost, shouting that heaven will have “one hell of a band” (Ain’t that the truth!), as they carry the flame from that generation to this. They showcase some of their other influences on Bogotá which features Joel O’Keefe using Eddie Van Halen’s Frankenstein guitar to hail Colombia and it’s frankly scary love of rock n roll.
It’s all part of Joel, drummer brother Ryan and brothers in arms Justin Street and Brett Tyrrell wider plan for this record which was to play rock n roll the way it should be played with vintage instruments, recorded onto tape at some legendary locations in Aussie rock history by Mike Fraser, produced by Brian Howes, mixed by Zack Cervini and mastered by Ted Jensen, to make sure it’s dirty and loud but also polished and powerful.
Airbourne, is like a runaway freight train, no ballads, no slow songs, just four on the floor rocking from the opening riff of Gutsy and we’re in familiar territory, through Alive After Death (Last Plane Out), Kid In A Candy Store, Last Man Standing that history of pub rock takes priority, even on the the filthy Christmas Bonus (in September?), there’s that wink wink nudge nudge of Bon Scott, the brothers Young and Die Hard too.
Airbourne have shown they can also embrace the slicker side of rock with two songs on this record, Here She Comes and Who Put The Rhythm In You? which are co-written by Robert ‘Mutt’ Lange and Bryan Adams, the former famously helmed Back In Black making it a smash hit. So on album number six Airbourne, there’s no massive reinvention, no sonic overhaul, just good ol’ honest rock n roll, as Airbourne carry the torch. 8/10
Bleeker – Elephant (Known Accomplice)
That’s Bleeker. Not the tube headed guy that meeps from The Muppets. Bleeker are an Ontario based rock band who play massive fuzzy riffs, bugger choruses and meld together emotional moments and songs about resilience with fun rockers and some tongue-in-cheek lyricism.
The alt rock four piece have had quite a glittering start to their career in the lead up to this third full length, with songs featured in NFL and UEFA coverage along with tours alongside Airbourne, Dinosaur Jr and Papa Roach. With album number three, called Elephant, they aren’t looking to give up the sound they have established, taking it to a more experienced place where they have the heaviest riffs yet along with the most emotionally intelligent songwriting, that runs the whole emotional spectrum, inspired by the majestic creature the album gets it’s name from.
Musically Bleeker take from The Black Keys on the thundering Boom Boom, great use of “whole enchilada”, Royal Blood and even Queens Of The Stone Age on the angular title track and the groovy Boring. Bleeker play loud as hell alt rock that never sacrifices it’s volume for accessibility, but can bother radio play with tracks such as the Kings Of Leon-esque More.
Equally Elephant has a vulnerability of fellow Ontario band The Trews on Laundry and an anthemic side that reminds me of The Struts on the glammy Outside, Bleeker switching between their different sides with ease, putting throbbing basslines beneath the acoustics and stadium ready choruses against walls of fuzz riffs, this Elephant stampedes in as a glammy, boisterous, alt rock treat from Bleeker that you should pay attention to. 8/10
Mad Max – Stories Of Destiny (ROAR – A Division of Reigning Phoenix Music)
Misinformation is a terrible thing as we all know and somewhere down the line I was convinced that Mad Max were a power metal band. So when I listened to Stories Of Destiny their new album I was a little distracted by the fact it was melodic rock/AOR.
However it turns out I was wrong and it seems Mad Max have always been a melodic rock band, stretching all the way back to when guitarists Jürgen Breforth founded the band in 1981. He’s been the driving force behind the band for over four decades and with their 45th anniversary this year Breforth has taken a retrospective look at his career while redefining a new chapter of it.
It means that Mad Max now features the vocals of British singer Alan Clark, from Dark Heart but their album also has two contributions from Andreas Baesler the original Mad Max vocalist for the first time in 45 years on Piece Of Candy, one of their earliest songs and a Spanish version, Dulces Falsos, which is a tribute to their South American fandom.
Having Baesler on the album is just one way that Breforth celebrates his band, the other being filling this record with songs that Jürgen has co-written with some high profile Germany based musicians such as Sascha Gerstner (Helloween), David Readman (Pink Cream 69), Andreas Broon and Micheal Voss, as the album also features two unreleased songs written in 1991.
Stories Of Destiny sees another Mad Max record that’s packed with guitar driven melodic rock, nothing too dissimilar from what they’ve been doing for 45 years but these songs have some special significance and celebrate the lasting legacy of the band. 7/10
Stormbringer – Transcendence (Attic Records)
We’ve been following and covering Stormbringer for a long time now, their mix of classic rock and heavy metal has seen them release four albums and take to some high profile stages, always bringing an anthemic sound that often means they can fit into any kind of festival be it as heavy as anything or full of radio friendly rock.
It’s this adaptability that’s so obvious on their fifth release Transcendence as they bring some Alice In Chains grunge to the soaring Dirt & Bone and Cut The Vein, while Grow lets loose with driving rock and some Scott Weiland-esque vocal sneers.
This record continues the outward looking perspective from their previous album, while MMXIII was deeply personal and introspective, AIIV saw them looking at the problems of the world at large. Ones that affect everyone and this approach is continued, with vocalist Mike Stockley calling Transcendence an album about “growth through adversity”, something which tracks such as All Along and Whole Again highlight.
Produced by Russ Russell he brings his veteran ear to this record, looking back to their earlier style of classic rocking but with the grittier/heavier sound they’ve developed over the years, album number five is the most complete package from Stormbringer. 8/10
