By the time 2010 rolled around I had lost touch with Accept. To be honest, hard rock/metal in general. 90’s released Accept albums Objection Overruled, Death Row and Predator came and went without my knowledge.
Then I acquired 2010’s Blood of the Nations and all of that changed. Surprised to stumble across it, I, of course, got it much later than its actual release day. Playing that CD for the first time it right away renewed my faith in Accept. More still my faith in “my” music. It was still out there. Still available. Still moving me through life. I would place the Blood of the Nations album securely in my “Desert Island Albums” list. No questions asked. New frontman Mark Tornillo provides some blistering vocals and serves very well in rejuvenating Accept. Guitarist Wolf Hoffman proves that he is still the same riff master who created such seminal classics as “Balls to the Wall” and “Metal Heart”, “Fast As A Shark” and “Princess of the Dawn”.
Then came the 2012 released Stalingrad. Weaker in my opinion. The tracks seemed less identifiable with less individuality over all. There are some rippers, of course, ones that shine in a live setting. But overall it didn’t resonate with me the way Blood of the Nations did.
Next, they served us Blind Rage in 2014. In my mind, even more lackluster than its predecessor Stalingrad. Perhaps I am alone in that seeing as Blind Rage became Accept‘s first album to debut at number one in Germany. After a couple of rotations, it collects nothing but thick layers of dust. I had to wonder if Accept burned out once again and so quickly?
Wait, they’re not done just yet! Members changed as we saw Herman Frank (guitarist) and Stefan Schwarzmann (drums) give way to Uwe Lulis and Christopher Williams. And a new album The Rise of Chaos released on August 4, 2017. Again working with producer Andy Sneap, The Rise of Chaos marks the fourth collaboration. Right from the first 45 seconds of “Die By The Sword” I can instantly hear that Accept are back on point once again. The identifiability and individuality of the tracks that I feel were lessening and lessening on Stalingrad and Blind Rage has been abolished in favor of ten songs that each stand alone or play well in order of arrangement.
While all tracks are great, a couple of complete standouts for me here come in the form of “Koolaid” and “Analog Man”. Perhaps oddly titled at first until you hear the lyrics of “Koolaid” it drives along well. I can only imagine how this would come off live, surely compelling a crowd encompassing chorus wide sing along, fists high. Possibly written about many of us, “Analog Man” lyrically speaks of the digital age. Another high energy barn burner, I am left with the chorus rolling around my head days later.
The top ten albums of 2017 race is getting very tight, but surely The Rise of Chaos will rise to the challenge!