Tom Jubb – Fantastic! Awesome! Epic! Glad to see heavy rock is still alive!
Jim Hauger – It was PERFECT… Their Heavy & Melodic RIFF HEAVY MONSTERS!!!!
Claudio Aguilera – Best Accept concert I’ve seen in my life. Both guitars sounding Amazing. Tornillo’s voice is Superb.
Mike McQuerter – It’s obvious you guys are not just going through the motions to earn a paycheck. The band sounds like a freight train crashing through a wall. The music is the tight and sounds dead on. I dare to say Accept is at a level it’s never been before and this is a good thing. Listening and watching Accept live really pumps you up and makes you feel alive. Well done guys.
Rolf Egil Bolle – Fucking classic:)
Mickey Nuttall – It was Refreshing to see fucking Real Musicians….
YOU GUYS FUCKING KILLED IT…
REAL PRO’S MAN!
Vitor Rodrigues – Great show!!! Fantastic band!!! Starlight was fucking great! Old songs, new songs… simply perfect!!
Allan Cunliffe – ACCEPT were always, and are STILL the greatest !
Here’s an equation for you: what does AC/DC + Judas Priest equal? Well, in this instance it equals Accept who have always blended the no nonsense, gravelly throated hard rock of AC/DC with Wolf Hoffman’s ferocious Priest-like shredding ability to create melodically powerful heavy metal songs.
Built around the song writing nucleus of Hoffmann (guitars) and bassist Peter Baltes, Accept’s beginnings can be traced back to the late 1970’s. The German band played a pivotal role in the development of speed and thrash metal, which emerged in the early to mid-1980’s and along with the likes of Iron Maiden, Accept has delivered an undeniable impact on the global metal scene. The group has penned an innovative and pioneering body of work and some of the most influential metal albums of all time, including Restless and Wild (1982; which included ‘Fast as a Shark’, the first speed metal song ever put to tape, Balls to the Wall (1984; the iconic title track is still the group’s most well known song to date and has become a worldwide metal anthem) and Metal Heart (1985). The band’s two previous albums – Blood of the Nations (2010) and Stalingrad (2012) have charted internationally, topping both critic and fan polls in the process.
It’s fair to say that Accept were one of only a handful of metal bands which had the ability to make me feel genuinely sad when they disbanded in 1997. So, when they got back together in 2009 with Mark Tornillo on vocals, replacing the mighty metal midget Udo Dirkschneider, I was initially sceptical. However, the aforementioned Blood of the Nations was a cracking album and my initial worries of this being a Blaze Bayley or a Ripper Owens sort of situation turned out to be unfounded.
Blind Rage, the influential group’s 14th studio album, was produced by renowned audio engineer Andy Sneap (Megadeth BLAZE, Exodus, Testament Napalm Death and Opeth). Andy really understands what an Accept album should sound like and works hard to make it thunderous and mighty.
The first single from Blind Rage, ‘Stampede’, precedes the full-length album. Filmed on location in the high desert of California at the Devil’s Punchbowl (a rock formation that looks like it’s from another world) with director Greg Aronowitz (Batman & Robin, A.I. Artificial Intelligence, The Lost World: Jurassic Park), it just screams THIS IS THE HEAVY METAL, BUY ME!
Each track has something to offer: ‘Stampede’ blends in power metal, ‘Dying Breed’ is anthemic and has some nicely planned old-school riffs (see if you can hear the nod to a well known Motörhead song), ‘Dark Side of My Heart’ reminded me of the tracks from the classic Metal Heart, while the more considered ‘Fall of the Empire’ sees Wolf Hoffmann and Herman Frank add some surprisingly deep and relatively poignant solos. ‘Trail of Tears’ follows and this is a more upbeat track which blasts along nicely. ‘Wanna Be Free’ kicks off with an acoustic introduction before bludgeoning the listener into submission: I guess this is an Accept version of a ballad with its resonating bass and mid-tempo structure. ‘200 years’ and ‘Bloodbath Mastermind’ again sees a more power metal influences being woven into the fabric of the songs and the final couple of tracks, ‘From the Ashes We Rise’ and ‘Final Journey’ could have quite easily come from their masterpiece Balls to the Wall.
So in summary, Blind Rage lived up to my high expectations and is a damn good heavy metal album. If you call yourself a heavy metal fan then you really don’t have any excuse at all for not listening to this. It’s another strong release from a rejuvenated Accept. Existing fans should be pleased with what they hear and new fans should welcome the fact that they have been given the chance to enjoy one of the best metal bands ever, one more time.
Accept will release their new album Blind Rage on August 19 via Nuclear Blast Records.
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