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Angry Metal Guy @[email protected] · 2026-09-14 · 16:16 UTC

Killer – The Grand Finale Review By ClarkKent

A year before Slayer started their thrash party, Paul “Shorty” Van Camp and Fat Leo formed their band, Killer. However, their names are the only things these two bands have in common—instead of thrash, Killer play an energetic style of classic heavy metal that has drawn plenty of comparisons to Motörhead. One can also hear NWOBHM influences from Saxon to Iron Maiden as well as some Def Leppard, AC/DC, and Thin Lizzy. What some consider Belgium’s first metal band, Killer struggled to imitate the success of their influences, with lineup changes wreaking havoc and financial struggles leading to lengthy hiatuses. After 1990’s Fatal Attraction, the ’90s were a quiet decade for the crew until a burst of energy following a 20th anniversary reunion that led to the release of two records in 2003 and 2005. The Grand Finale marks their third album since 2005’s Immortal, their ninth overall, and, as the album title and tongue-in-cheek cover art suggest, the last of their career. Despite their age, these guys prove they aren’t too olde to rock.

On The Grand Finale, Killer embrace the Motörhead within them. The record doubles as their swan song and as a tribute to Lemmy Kilmister, including guest performances from Lloyd “Lemmy,” the vocalist of a Motörhead tribute band called Motörheadz.1 Things start off with that Motörhead energy on the catchy “Loaded Gun,” which also has the economic flair of AC/DC. It establishes the sort of simple, yet distinctive, riffs that give each track a memorable spark. It’s not all Motörhead all the time, however. “Welcome in the Real World”2 has the classic heavy metal feel of Judas Priest, and structurally the songs play out in a Def Leppard fashion with stripped-down yet catchy choruses. Yet, Motörhead does dominate the thematic content of The Grand Finale. The centerpiece, “Roll the Dice,” takes clear influence from “Ace of Spades,” using the same “life as a gamble” metaphor. Shorty and Lloyd “Lemmy” sing, “Life’s a casino” and “If you don’t play you never can win.” Yes it’s a bit on the nose for “Ace of Spades,” but still plenty fun.

Shorty is the only remaining member from the ’80s days, but these guys play with plenty of spunk for a trio that’s been together for 15 years. The 70-year-old lead singer proves the adage that age is just a number. Sure, his voice has a bit of a huskiness that weighs it down, but he sings with gusto and spirit. There’s no pity in his final performance—on “The Grand Finale,” he sings “Stop! The show is over” with the cheerful abandon of someone satisfied with their lot. He sees the silver lining in performing this finale: “It’s our very last chance to enjoy the passion, the treasure.” The joy is catching. The ballad “Gone Too Soon” is the true heart of the album, serving as a tribute to Lemmy. It’s a heartfelt piece that genuinely expresses Killer’s grief in a down-to-earth way that isn’t overly sappy. Along with the charismatic vocal performance, the memorable riffs and fun solos prove that The Grand Finale was borne from a spark of true passion.

Though The Grand Finale harks back to the days when Killer wrote tighter records, wrapping up in a concise 38 minutes,3 it does begin to grow stale in the back half. “Hard Day Coming” is one of the more interesting songs thematically, taking the “grand finale” theme in a more sinister and global direction by warning of a coming “hard day” ravaged by raging seas and “violence and hate.” It’s a fine tune, but it leads to a string of structurally similar songs that feel repetitive, following one after the other. Rescuing the record from a sluggish ending is the return of Lloyd “Lemmy” on the highly energetic “What You See is What You Get.” Frenetic riffs and blast beats snap awake sleepy musicians and listeners alike, allowing this one to end on a high note and keep the good vibes flowing.

They may lack the influence of many of their peers and won’t draw the same amount of attention as another “grand finale” released earlier this year, but it’s still bittersweet to witness the end of such a long career. Killer face this ending with such good spirits that it’s more sweet than bitter, however. I won’t speculate on where this one sits in their discog,4 but what matters is that it’s an enjoyable send-off, something fans will appreciate as well as newcomers who enjoy classic heavy metal.

Rating: 3.0/5.0
DR: 10 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Websites: Facebook | Official Site
Releases Worldwide: September 11th, 2026

#2026 #30 #ACDC #BelgianMetal #DefLeppard #HeavyMetal #HighRollerRecords #IronMaiden #JudasPriest #Killer #Motörhead #Motörheadz #NWOBHM #Review #Reviews #Saxon #Sep26 #Slayer #TheGrandFinale #ThinLizzy

#acdc #belgianmetal #defleppard #heavymetal #highrollerrecords #ironmaiden

Variety @[email protected] · 2026-09-11 · 12:50 UTC

Def Leppard Documentary ‘Long Live Def Leppard’ Coming to Theaters in 2027 From Bleecker Street’s Crosswalk
#Variety #News #BleeckerStreeet #DefLeppard

https://variety.com/2026/film/news/def-leppard-documentary-bleecker-street-theatrical-release-1236857861/

#variety #news #bleeckerstreeet #defleppard

Angry Metal Guy @[email protected] · 2026-09-05 · 14:00 UTC

Airbourne – Airbourne Review By Grin Reaper

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 | Bandcamp 2 | Facebook | Instagram
Releases Worldwide: September 4th, 20263