Today ACCEPT release the third online trailer, featuring guitar player Wolf Hoffmann, talking about different topics of their forthcoming new album »Blind Rage«, which will be out on August 15th via Nuclear Blast.
Also available at the Nuclear Blast YouTube channel:
Heavy Metal pioneers ACCEPT just played in incredibly successful show at Wacken Open Air 2014 last week. In case you missed ACCEPT at the annual festival madness, their full show will be airing on the German TV stations 3Sat and ZDF Kultur at the following dates:
Now that Accept have climbed back to the top of their game and swept up the spotlight with a pair of excellent albums, their challenge lies in maintaining their grasp on success. Despite song titles like “Dying Breed,” “Fall Of The Empire,” and “Final Journey,” Blind Rage does not spell the end to Accept‘s second wind; it is the next chapter.
While Blind Rage isn’t as dynamite as Blood Of The Nations, it does improve uponStalingrad, itself an excellent album. Of this new bevy of classics, Blind Rage most recalls Accept‘s (first) heyday with riffs and choruses reminiscent of Restless And Wild and Metal Heart material. After “Stampede” appropriately opens the album, bulldozing everything in its path, “Dying Breed” pays tribute to all of your favorite heavy metal pioneers and legends – a group to which Accept could truthfully be said to belong. The first few songs alone provide plenty of assurance that these Teutonic Terrors haven’t lost their touch.
Much of Blind Rage is wrapped in a somber sobriety, from mournful marches to emotional choruses, making this album one of the darkest and most serious inAccept‘s catalogue. Of course, no true Accept album would sacrifice the opportunity to shower its listeners in forceful, dominating riffs and the pure, unadulterated heavy metal attitude that makes Accept such a titan even after all these decades. These two aspects mix heartily throughout the album, making it not only dramatic and emotional but as hard-hitting and indefatigably heavy as ever.
Wolf Hoffmann could play trip baroque dubstep-core through a tin can and it would still be earth-shatteringly badass. His legendary metallic tone is the base from whichAccept grows, and his solos always bear the distinction of sounding necessary. His solos do not fill space, nor are they just vehicles for him to show off; they become truly part of the songs. With the dream team of Hoffmann, Peter Baltes, Herman Frank, Stefan Schwarzmann, and Mark Tornillo, all of whom sound as though they were made specifically to kick ass in this band, Accept cannot fail.
Accept is a great example of a band that doesn’t need to be fancy to succeed. “Trail Of Tears,” “Dark Side Of My Heart,” “From The Ashes We Rise,” and the whole rest of the album step up to the plate with nothing but loud riffs, louder shrieks, and a hell of a lot of attitude – and that’s all Accept requires.
Clearly, this new, re-vamped Accept has a lot more to say. Blind Rage testifies to their unflagging strength and solidity. From the first notes of “Stampede” to the last ones of “Final Journey,” Blind Rage muscles its way to the top and delivers one monstrous blow after another.
German heavy metal legends Accept forged a triumphant reincarnation with their 12th studio album ‘Blood Of The Nations’ in 2010, debuting Mark Tornillo as the new vocalist. The overwhelming and unarguable success of that album was followed by the stellar 2012 release ‘Stalingrad’ which went on to prove that the band’s return wasn’t a mere one-off, and now, keeping up with the consistency in turnaround, Accept are ready to unveil their 14th studio effort ‘Blind Rage’, the third chapter of the Mark Tornillo-fronted era and a set of tunes through which the band stamps their authority on the heavy metal universe with a force greater than ever before.
With upbeat rhythms, catchy guitar work and fierce soaring vocals, ‘Stampede’ provides a lively start to the album and sets high standards right from the get-go. The mid-tempo gallop and the anthemic vocal chorus Accept have been so greatly known and loved for over the years is very much evident on the next track ‘Dying Breed’ which comes across as a memorable song in every aspect on first listen itself, and only makes the listener’s fondness towards it grow stronger with every subsequent listen. ‘Dark Side Of My Heart’ maintains the impetus albeit in its own different manner with a slightly darker and more melodic vibe, as its title would correctly suggest. The album moves from strength to strength through fantastic compositions such as the laid back and epic-sounding ‘Fall Of The Empire’ and the contrastingly breakneck ‘Trail Of Tears’ and altogether the aforementioned five tunes constitute as strong of a first half as anyone could have expected from Accept, including the band itself.
‘Wanna Be Free’ slows things down, allows the five musicians to breathe their respective instruments into the song, and raises the melody levels once again to make for a great centerpiece for this 58-minute set of tunes. Even the latter half of the album simply has no filler whatsoever, with fast-paced anthemic tunes ’200 Years’ and ‘Bloodbath Mastermind’, the progressive, guitar-oriented and tempo-shifting ‘From The Ashes We Rise’, the album’s longest and perhaps musically finest tune ‘The Curse’, and the closing song ‘Final Journey’, ending Blind Rage with the same all-out intensity with which it began.
As compared to ‘Blood Of The Nations’ and ‘Stalingrad’ which could be categorized as members of the same ‘trilogy’, ‘Blind Rage’ certainly sees Accept progress positively as creative musicians, led by the songwriting prowess of guitarist Wolf Hoffmann and bassist Peter Baltes. The guitar work on this album is absolutely exemplary and the is the single standout feature that wasn’t quite as evident on past Accept albums. Vocalist Mark Tornillo’s voice is an aspect Accept fans would definitely be used to by now, and he sounds more comfortable and expressive in his role. Second guitarist Herman Frank harmonizes and trades off with Wolf Hoffmann to great effect, and drummer Stefan Schwarzmann ably handles the most crucial foundation for any good-sounding album. Andy Sneap is once again at the helm as producer to bring the best out of the Accept sound. The combined efforts of these gentlemen has given us an album that can be deemed as the best the year of 2014 has seen so far.
Musically and lyrically, the entirety of Accept’s latest effort is instantly enjoyable to a traditional heavy metal fan, and to say that ‘Blind Rage’ is heavy metal perfection would not be an exaggeration or overstatement even in the slightest.
– See more at: http://metalassault.com/album_reviews/2014/08/05/accept-blind-rage/#sthash.qMXnjDkC.dpuf
Justifiably you can put Accept in the same sentence with ‘legendary heavy metal band.’ Rising at the same time as peers Judas Priest and Iron Maiden in the New Wave of British Heavy Metal, Accept put a German face to this new and soon to be classic heavy metal sound. Since their more stable reunion in 2009, Accept has been on a steady and significant resurrection writing some of their best music, getting high praise for it, and earning legions of new fans.
Blind Rage continues the anticipation and excitement that began with Blood of Nations and continued through Stalingrad. This is classic melodic heavy/power metal at its best. Groove, melody, instrumental and vocal harmony, rippin’ guitar solos, catchy refrains, and all wrapped in sufficient heaviness without being harsh or crushing (unlike most modern metal). These are all the reasons I fell in love with heavy metal better than 40 years ago. Heavy metal, ‘true’ metal, never gets old and never will.
While a song or two didn’t quite catch on as quickly as the others, this is another strong album with really good metal songs. Thinking of the aforementioned characteristics, my metal ears lean more towards the songs with rock groove, melodic vocals and guitars, and catchy, hook-laden, arrangements. This comes with Dying Breed, Fall of the Empire, From the Ashes We Rise, and the awesome metal anthem Wanna Be Free (favorite song).
But there’s much to be said for traditional speed and intensity, Accept punching it up and getting your fist pumping. This comes with Stampede, the true speed monster Trial of Tears, Final Journey, and Bloodbath Mastermind. However, the latter two songs were the ones that didn’t resonate with me at the start (which doesn’t make them bad songs at all). Nearly a slow burner, but likely more a lesson in steady traditional heavy metal is The Curse. Is it a ballad or anthem, or bastard child of both? Some may find this an uncharacteristic addition for Accept in light of the rest of the album but, damn, there are some strong guitar solos. I’m certainly not ready to write it off. Finally, I recall saying about the last album that vocalist Mark Tornillo seemed to be spiraling downwards in his delivery. I guess the third time is a charm as he sounds strong and deliberate on this album, so you can basically forget that previous observation. All in all, Blind Rage is pretty fandamntastic: honest, well-crafted, keep it true, classic melodic heavy metal, and definitely worth your time. Quite recommended. Get it.
By Mark Gromen Wow! Why can’t all reformations/injections of new singers be so fruitful? The third album since Mark Tornillo joined Accept sees the band uncork the strongest collection of songs since Blood Of The Nations. That second-coming “debut” was bolstered by a “No They Couldn’t” pleasant surprise surrounding Tornillo’s successful replacement of mainstay Udo Dirkscheider. Here, Mark showcases more singing, not just screaming. Two records on, people know he can do the job, so there’s an even more focused examination on the music, not ancillary waves of nostalgia. The eleven songs, while definitive Accept, are not a carbon copies: no throw-away, “I know what those old guys sound like” album. Increased attention will be directed towards the lyrics (and rightly so), offering a glimpse through seasoned eyes. This is not the myopic “Rock until you drop” vision of Twenty-somethings, shining a light on the dark underbelly with a socially conscious lyrical bent, be it historical (“Trail Of Tears”) or science fiction “200 Years”, relating two centuries after mankind’s downfall/eradication from Earth. There’s talk of human trafficking, drug addiction and at least a pair of references to nuclear destruction, to say nothing of “Bloodbath Mastermind”. The charging, snorting beast depicted on the cover is a fitting metaphor! What follows is not intended as a complete review, but rather the random thoughts generated from a single playback. The material warrants further investigation (can’t wait to hear it again and repeatedly thereafter). Rest assured, Accept deliver. No bull!