Review: Fly! – “…or Die!”

Release date: 23rd May 2025

9–13 minutes

FLY! is a fast and mean rock ‘n’ roll machine from Melbourne. Emerging from the darkest depths of the Aussie wastelands, FLY! united with a singular vision: to play fast, loud, and mean rock ‘n’ roll, harkening back to the raw power of 1970s and early ‘80s rock. Inspired by the likes of Motörhead, Judas Priest, and AC/DC, FLY! are a rough ‘n’ rowdy amalgam of their influences, and then some!

Formed in 2023, FLY! blasted onto the Australian rock scene, playing up and down the east coast and leaving a trail of destruction (and empty beer cans) in their wake. 2024 saw the release of FLY!’s dangerous debut demo with a string of blistering national performances to follow, seeing FLY! share the stage with the likes of the Cosmic Psychos, Cancer Bats, and heavy metal brethren (and now-labelmates) AARDVARK, among many others.

DYING VICTIMS PRODUCTIONS is proud to present the highly anticipated debut album, where these road warriors take flight across the 11-track / 39-minute journey: a no-holds-barred love letter to speed, dusty highways, murderous marauders and relentless riffs. There’s no overthinking these desert-wasteland anthems; you simply hop on and go, go, go! FLY!’s vicious, high-speed rock explores themes such as weapons, beer, homicidal maniacs, and the power of acceleration!

Review

The number of talented and groundbreaking bands coming from “Down Under” statistically might not seem substantial, and perhaps many pass under the radar for those of us situated in the northern hemisphere. However, when it comes to hard and heavy sounds, our community and fandom pays good attention, more often than not filtering in those names that deserve a proper hearing. Whenever I spot a formation with an “aussie” stamp on it, I’m all eyes and ears. Having recently discovered the epic stage appeal of breakout band AARDVARK, watching them twice in the same month, when their fellow citizens FLY!’s review material landed in my inbox, excitement spiked that very instant.

Before we deep dive into the musical exploration, let’s pay respect to the album artwork, which in my view is a vibrant combination of old-school legacy, vivacious color palette, and a modern interpretation of the classic leitmotif of the post-apocalyptic wasteland warrior, framed in our minds by movie masterpieces like “Mad Max.”

Right off the bat, we’re catapulted into the album’s ambience by the intro “Into the Wasteland,” a less-than-a-minute overture that has it all: a thunderstrike, engines roaring, and chaotic metal banging to welcome us into this vagabond world. The real opener, “Highway Fiend,” kicks in with an unmistakable MOTORHEAD riff and vocal style that would make good old Lemmy proud of his disciples. Perhaps it’s a bit of an overstatement, yet this piece is soaked with MOTORHEAD mojo from the era crossing the 70s to 80s, bringing all the raw charm and charisma that built a legend. To spice things further, I caught a gentle JUDAS PRIEST homage in the lyrical construct, again referring to the aforementioned golden period of NWOBHM – two powerful elements combined that create irresistible metal mana.By all means, FLY! isn’t stuck in romantic reminiscence, making everything sound as if made in the third decade of the 21st century – right to the point, concise and solid, beautifully orchestrated and produced, making no compromise on the final output. And to make it even more delightful – if we amplify the aggression a bit, this might potentially pass for one of those emblematic MIDNIGHT facemelters.

“The Sinner” makes an entrance with a raw, pumping riff that accelerates the heartbeat, and this deep monolithic sound that FLY! diffuses can really bring you back from the dead. The pattern set in the opener remains strong, yet the fresh element is the longer, more playful intro, introducing interesting guitar motives with twists and turns for nearly a minute. And bang! Lead singer Willy Cox slaps us with his abrasive vocal attack, blending perfectly into the atmosphere of danger and wickedness. The emphasis on the “sinner” part evokes a tangible sensation of relentless chase for action and satisfaction, exactly the type of experience a metalhead often seeks when playing a fresh new record. The shining gem is definitely the midway guitar solo, preceded by an instrumental mashup, letting it all loose at the 3-minute mark – a virtuoso buzzing inviting the final sinful chorus.

As an organic sequel, “Bowie Knife” kicks in with airier guitar delivery and a bit more overdrive to pivot in style, not shying away from the general line of conduct while staying flexible in stylistics. The cohesion between vocals and instruments makes it feel smooth and polished, while the delightful “Huh” thrown between verses adds a much-needed flavor of mischief. There’s a certain criminal edge in the lyrics, warning of danger, and that “coming to get you” undertaking is not for the faint of heart. But hey, what’s the worst that could happen? Well, the brevity of the solo in this case, and we have to accept that here we get a more compact and condensed offering, nevertheless expressive to the max.

The nasty “Lecherous Lover” follows suit, and to a great extent, the name says it all. It’s surprisingly short, just over 2 minutes – half the average duration so far – keeping the established album tempo, with a slightly clearer singing style and simplistic sustained guitar chords. The lustful, nuanced lyrics perhaps won’t make you blush, nor fall in love with this one, and the overall crude tonality here is a feature, not a bug. Let’s just label it as an amusing pitstop on the desert highway before we carry on with the renegade race towards the second part of the LP.

A swift “one-two-three” on the cymbal and the lover transforms into a “Loser,” a stark contrast in tagging the protagonist, though the novelties aren’t limited to the naming convention of the song. Being positioned at the exact middle of the playlist, it comes with a fresh breed of ideas, with sound definitely rooted in the mid-70s or even late 60s: light guitars, rhythmic background drumming, supportive bass line, and razor-sharp solos. All boxes checked! Laugh as much as you want, but at many moments it gives me strange ROLLING STONES vibes, which thankfully are compensated by the core delightful divergence – clear singing, where a large portion of vocal duties are supported by a female voice that perfectly complements Willy Cox’s lead. Such two-part harmony wasn’t an anomaly during the golden age of rock’n’roll, which suggests that such a nostalgic instrument is really spot-on when a band wants to take the album sideways from the main narrative.

Counter strikes seven, high time for a title track to chime in, and “Fly or Die” storms the desert fields with an unapologetically lively and groovy intro, gliding comfortably into the already established pattern. Gnarly vocals are back with a bang, which to some extent comes at the expense of lyrical clarity, often clashing with the guitar sound and amalgamating into a sticky mixture. Perhaps the production is to blame here, plus the cyclonic shouting of the song title playing the role of a chorus does massive disservice to the composition, as if it were pieced together just because there was a need to have a title track. With that being said, the relatively short duration of little over three minutes could be interpreted as a relief, and to be fair, the standout moment is the short, piercing guitar solo that precedes the final portion of the “fly or die” overdose. It pains me to say that instead of peaking, here the album reached its lowest point – but the good news is we have four more aces to play and recover the score.

Full speed ahead, chasing the “Freeway Phantom,” an experience that could be both a bumpy ride and joyful adventure. Take the initial 30 seconds for a test, and I’d bet on the latter, unmistakably facing a much more offbeat track at this point. Notably distorted guitars blend perfectly with the raspy vocals, creating a harmonized combo for the listener to relate to. It’s a moody four-minute delight, as if the song breathes freely, escaping convoluted clichés that could suck away all the fun. Rock’n’roll ornaments in a much heavier upbringing are the spice of this song, gracefully scattered around the intermissions between verses and mostly in the crazy solo that follows. If the title track could be frowned upon, this one swings you back into smiling mode.

A refill is needed, and “Gasoline” is the proper musical affair to fuel the engines with some nitro-explosive cocktail. Nine songs deep in the release, I’ve come to the conclusion that FLY! pays proper attention to all their intros – regardless of whether they’re short or long, they all sound similar yet uniquely individual. As each song makes its own “Hello, my name is…” preface, it’s an admirable trait that calls for numerous listens to fully appreciate. Chugging riffs and solid drumming constitute this track, and with the smooth singing on top, it all results in perhaps the most balanced song on the bill and cannot be dismissed as a standard “second-half filler.” Shout out to the meanest and most metal-sounding solo by far, slashing the ears with precise, pointed cuts.

The closing couple of songs approach, and all this cruising around in the scorching desert makes me kind of thirsty. Foster’s, anyone? The penultimate banger from the catalog is “6 Pack,” and I’m pretty sure the band here isn’t considering the fitness interpretation of the term. The big, bouncy bass sound to die for sets the tone, swiftly jumping to deep riffing and a vocal style that outlines a quirky punkish vibe, resulting in a captivating mixed bag of musical goodies to enjoy. Pretty soon it becomes clear we were served with a snare section, and what follows next genuinely amazed me in a jaw-dropping manner. Scheduled at exactly the 1:50 mark (coming out of the first chorus), the song takes a sudden U-turn towards the late seventies to metamorphose into an AC/DC tribute from the classic Bon Scott years – a maneuver both amazing and unconventional, which I theorize is motivated by paying homage to the forefathers of heavy rock who started it all on the Australian continent. Those are big shoes to fill, and in all honesty, I must give FLY! credit for living up to the challenge. Just before it all ends, we finally find a precious gem glimmering in the desert sand.

“Sweet Leaf” wraps the whole thing up, and as an echo of the previous track, the intro carries on imposing the AC/DC heavy rock-and-roll pattern, with vocals becoming somewhat barking and the main riff galloping relentlessly, stepping down to harsh shredding before getting back on the fast track again. It’s a moment of truth for the instrumental prowess of the band to shine, and the creative plasticity that follows after the lyrics are over really blew my mind. Composition and arrangement combine in an unmatched synergy to deliver a level of musical improvisation I barely imagined could exist in that type of closing track. A glorious ending to the journey, and hats off to the Aussie guys for having the courage, wisdom, or providence to leave these perks to endure at the finish line.

Conclusion

Looking from a distance, one could say that the album is compact, packed with complementary songs, with a snippet of conceptuality and somewhat linear in approach. Definitely FLY! sticks strongly to their own style and view of musicianship, and as much as “…or Die!” is supercharged with influences from monumental bands, in no way does the album sound like a copycat or a tribute. Just the opposite – I consider it a fresh interpretation of fundamental stylistics, putting a new perspective on the sound, singing, and expression format that hallmarked an entire generation of hard rock hermits, who in turn took it further to catapult heavy metal into a worldwide phenomenon. If you’re chasing vibrant variety and a prog-rock kaleidoscope of emotions, you won’t find them here; however, raw energy, loyalty to truth, and honest artistic bravado are the core values this band stands for.

TheNwothm Score: 7.5/10