Album Review: Airforce – Acts Of Madness
Reviewed by Sam Jones
Amidst the plethora of the New Wave Of British Heavy Metal bands coming out in the late 70s and early 80s, one of them formed a little later down the line and they were named Airforce. Formed in 1987 out of London, United Kingdom, Airforce were originally active until 2001 however, in that time, the band had released nothing official. But a few years later, by 2008, the band returned with a mission to release metal in the vein of that NWOBHM movement, at last releasing their debut studio album titled Judgement Day in 2016. With each successive year followed another release, there was an EP, then another, followed by a Single, then the band released album two, Strike Hard, by 2020. Its ben go to se the band coming into their own lately, unleashing a Live Album in 2021 which was eventually followed by two Singles in preparation for their third album which is why we’re here now: Acts Of Madness. Poised for a February 21st release date, it’s the band’s first album via RPM Roar. Its great to note how, other than the vocal helm, Airforce today is entirely comprised of the original members from their 1987 formation. Today, the vocals are manned by Portugal-born Flávio Lino and, having seen Airforce perform live with Girlschool and Raven this time last year, he certainly provides the pipes needed for Airforce to project themselves. This is my first time checking out a new record by the band prior to its release and I was hyped to see what it could offer.
What year is it? It’s 2025? I could have sworn we were thrown into a time warp and sent back into 1985, at least Acts Of Madness would have us thinking so. Many bands born amidst the NWOBHM movement releasing records today have forgone their retro production qualities in favour of more polished textures and a cleaner projected sound. Airforce however seem to have struck a nice balance between retro aesthetic and that clarity embedded within modern production capabilities. Every vocal chord and riff and drum strike is as clear as a cloudless day but there’s one coat of hardened paint swept across its exterior; it not only gives us some sense of believability regarding their NWOBHM roots, but it lends the band’s performance that extra dose of strength precisely because not everything has been smoothed out for us. It’s like listening to early Saxon or Iron Maiden; the songwriting chops are there yet Airforce’s adoration of momentum is hugely prevalent.
Vocally I think Lino was the ideal choice for Airforce’s style of NWOBHM; the band themselves play with steadier tempos and aren’t naturally aiming for your head all the time, this gives the experience a much more relaxed, chilled zeal which enables them to play without the audience feeling like they need to keep up. It’s quite nice to enjoy some slower NWOBHM and it’s also why Lino’s vocals are perfectly synced with what Airforce provide. Had their tempo been faster or their intensity only so higher then Lino’s vocal delivery wouldn’t have matched so well as his intonation, like the band, is best performed at a median tempo. The calmer pace allows us not to take in more of the songwriting with greater ease but also allows Lino to throw out his controlled intonations, especially his high-pitched cries, without feeling like he’s having to rush us along. It’s no secret older bands will often recruit younger blood but it’s an inspired decision to go with Flåvio Lino.
If there’s one aspect that champions the retro aesthetic the most, it lies with the drumming. Granted, the band’s instrumentation overall propels their 80s origins with passion but it’s during the slower, more bass-heavy, riff-lighter, sequences that give the drums their due. With every strike given across the kit you feel not only the resonance given following the strike but the taut nature that’s been allotted to the drumming. Naturally this isn’t going to be the most ruthless or blistering performance you’ll hear this year but it’s so satisfying to experience what I can only describe as a crunching drumming performance. Even as the winder kit is utilised you can feel the energy that goes into the more intricate patterns, especially as we weave between snare and cymbal and bass drums, the latter of which is half the bass’ strength across the record. The clarity Airforce gift their record with feels most apparent with the drums too for there won’t be a thing you’ll miss.
Given the band’s tendencies not to write faster paced metal, nor are the members themselves playing at faster rates perhaps given their age, it comes as no surprise that Acts Of Madness has some form of album structure implemented to keep us invested. Now, we’ve covered how the band aren’t playing the fastest NWOBHM-styled record and they’re thoroughly comfortable with that, but even when the record slows down in the middle the overarching pace of the album never feels like it’s about to stall, nor are we there hoping the pace and energy will climb back. The record’s intensity may dip in the middle but it’s not like the band suddenly enter upon this trough, this depression, of energy for their ability to convey momentum and strength persists even whilst the album slows down. The band never undergo any kind of ballad even though their songwriting, as it winds down, could have allowed for such an approach. One could say this makes for a more homogenised record since, understandably, the band are very comfortable with their primary given sound and don’t move too far from that, but Airforce aid themselves through the sense that when they start a track you always feel like they’re playing with direction and purpose; so even when they do relax the pace you’re hardly thrown off because of the deliberation thrown towards their songwriting.
In conclusion, closing out their record with a cover of Iron Maiden’s “Strange World”, Airforce demonstrate there’s still more than one strong bite left in their arsenal. Acts Of Madness is far from the fastest and most intense record you’ll experience this year but given the band didn’t have a record out until just under a decade ago, Acts Of Madness would be suggesting otherwise, insinuating a long and prosperous career. It goes to show that metal written well doesn’t always need to be fast to be entertaining for many of the more captivating sequences by Airforce herein are the slower and more nuanced segments. Lino’s vocals are definitely inspired by Maiden’s own Bruce Dickinson and though you can hear the similarities in his delivery, his cries and cadence, he still makes it his own without a doubt and is a stellar vocal front for the band. Airforce isn’t trying to compete with the greater names and frankly it doesn’t need to, filling a niche that much of NWOBHM often tries veering away from. Acts Of Madness sits with you at the bar, a drink in hand and is always asking if you want another; a friendly, relaxing but altogether quality experience to be had.
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