ACCEPT… Wolf Hoffmann… Peter Baltes… Mark Tornillo… Uwe Lulis… Christopher Williams… proudly announce their upcoming BLIND RAGE TOUR 2015 Part II! See you in MEXICO, BRAZIL, GERMANY, GREECE, HUNGARY, POLAND, SLOVAKIA, FINLAND, CZECH REPUBLIC, SLOVENIA, FRANCE, SPAIN, AUSTRIA, DENMARK, SWEDEN, BELGIUM and MORE to come!
ACCEPT – 2014 Was the Best Year in Their Career So Far!
BLIND RAGE #1 on the sales charts in GERMANY & FINLAND.
Various entries in international Charts.
Winner of ALBUM OF THE YEAR categories in several countries by the strongest Metal Bibles in Europe, METAL HAMMER, HARD ROCK, SWEDEN ROCK #1.
45 shows in 20 countries.
SOLD OUT shows in 9 countries.
Headliner at most prestigious and talked about European Festivals including the Metal Paradise (with “special event show”) WACKEN OPEN AIR, WOODSTOCK and the amazing three quarter of a million fan strong 2014 a charity event for Children Hospitals in Poland.
Touring Europe, North America, Australia and Asia – 4 Continents in 2014 and not yet finished!
BLIND RAGE WORLD TOUR Part 2 is on the move again, returning to South America with OZZY OSBOURNE, KISS, JUDAS PRIEST, MOTORHEAD and many other GREATS! Belgium, Czech Republic, Denmark, Germany, Greece, Hungary, Poland, Slovakia, Slovenia, Spain, Sweden and MORE are already in their intense battle plan for 2015!
The PAST, PRESENT AND FUTURE for ACCEPT was and still is beyond the band’s imagination, but not beyond their reach! We all know, they could not have come so far without their fans and the endless gifted people who are working so hard for ACCEPT! Thank you… to all of them from….. all of us with the promise, that we will come back – better and stronger and even more devoted than the last time!
Famous, genius writer MALCOLM DOME, who has followed ACCEPT for 30 years was at ACCEPT’s LONDON SHOW!
Despite the fact, that the band had the most SOLD OUT SHOWS in their touring history with the BLIND RAGE 2014 World Tour, they just missed the SOLD OUT mark at the beautiful FORUM!!! Wolf Hoffmann states: The audience has been fantastic and PETER & I said after a few minutes into is HOLY SHIT .. we better come back to the UK!
As the veteran Germans play The Forum, the band’s Wolf Hoffmann talks to Classic Rock
Accept are not content to be a nostalgia band. In fact, current album Blind Rage did something they’ve never experienced before.
“For the first time ever we had a number one album in Germany. It took us by surprise. We didn’t know this would be a successful period. Three albums and five years with Mark Tornillo (vocals) and we are strong.”
So, it’s no surprise that the band’s contemporary vigour is reflected in their live setlist. Unlike many of their peers they feel confident enough to pepper their performance with material from Blind Rage, and it’s immediate predecessors Blood Of The Nations (2010) and Stalingrad (2012).
“There are very few bands who are trying really hard to make relevant new albums”, says guitarist Wolf Hoffmann. “A lot of our friends take the attitude that nobody wants anything new from them, so they go out and play old stuff. We don’t want to suck up to our past and rest on our laurels. We are opening a new chapter.”
In London, the band get pumping with no less than four modern tracks, slicing through Stampede, Stalingrad, Hellfire and 200 Years. And the audience enthusiasm is at such a high level you’d never have know these don’t come from their glory days in the 80s.
“It’s tricky putting together a setlist, but it’s a good problem to have. Now half of the set is new stuff and half of it is old. People really seem to like the fact that we are playing a shit load from Blind Rage. It’s remarkable to see the brand new songs going down as well as the songs which have been around for 30 years.”
It’s only with the double pack of Losers and Winners and London Leather Boys that the band ease their way back 30 years. Tornillo’s vocals actually have a lot more in common with Brian Johnson than with Udo Dirkschneider. In fact, his whole stage persona brings to mind the AC/DC master, and not just because he wears a hat. He has a stage bonhomie and grinning residue that lends a certain relaxed edge to everything.
“Maybe it was because we were away for so long [effectively a decade from 1997], and feel we still have something to prove. It’s a new era, and we wanted Blind Rageto leave a permanent mark. This is a new time, and we have to prove ourselves all over again.”
“Do we get enough acknowledgement from people for our influence in metal? We’re quite happy with the respect we get from the music industry. Yes, we were the first metal band out of Germany. At the start, we were kids who dreamt of touring the world. And you had to go outside of Germany to be a professional musician. We weren’t really accepted in Germany until we came back from the States in 1984. But it’s always said that a lot of German metal bands were formed after Accept made our mark. Indirectly we did help to create the German metal scene. But that was never what we set out to do. So, it’s hard for me to take credit.”
The encore again mixes old and new, with the mid-paced madness of Teutonic Terror linking the flamboyant Metal Heart and the always welcome finale, Balls To The Wall. It’s a crisp, plunging way to finish off the night.
“I was into The Beatles and Jethro Tull early on. I listened to the latter’s Stand Up all day long. My sister had it, and I’d play it all the time.”
The one disappointment about the gig is the modest turn out. Accept should be capable of packing places like this. Yet while it’s ultimately too big for their present stature, the performance is of arena headlining stature, which is where Accept belong.
“We wanted to move forward, and present ourselves in a nice environment, which is why we did The Forum this time. We haven’t given up on the UK. Metal is enjoying a resurgence there, so we want to play more shows in the future.”
The smiles on everyone’s face at the end, band and fans alike, says it all. Accept have the sort of commitment and charismatic determination that this writer first witnessed in 1980, when the youthful band headlined the Markthalle in Hamburg. Living in the past? No, using it as a springboard into a bright future. Turning Wildness into Rage.
BLIND RAGE will be released in the USA on Tuesday! Mark Tornillo will be live in the studio with Eddie Trunk tomorrow night (Monday) on Sirius XM’s Trunk Nation at 9pm. Wolf Hoffmann will be calling in to the show! Besides talking about BLIND RAGE Mark will also talk about the upcoming Gramercy NY show on September 15th.
In the spirit of LL Cool J, German thrash lords Accept reunited in 2009 after an almost thirteen-year hiatus following their breakup in 1997. Though the band’s origins date all the way back to 1968, it wasn’t until 1976 when guitarist Wolf Hoffmann and bassist Peter Baltes joined vocalist Udo Dirkschneider that Accept became the battering ram of thrash and power metal that would influence generations of metal to come. With former TT Quick vocalist Mark Tornillo replacing Dirkschneider, Accept embarked on what’s revealed itself to be a comeback for a band that’s less interested in riding the gravy train of past success and more hellbent on the creation of new riffs for an entirely new generation of listeners as well as older fans who’ve been there since the beginning. Their upcoming full-length, Blind Rage, will be Accept’s third since reforming and gives every indication that age and time mean precisely dick when it comes to the riff. I recently talked to Hoffmann about the band’s history and why he’s glad heavy metal is more relaxed and chill now.
Noisey: Blind Rage will be Accept’s fourteenth full-length, Wolf. Just looking at the band’s history and career, have you seen the way you guys approach making music change very much since that 1979 LP, or is it still a matter of drawing from that original creative catalyst for Accept?
Wolf Hoffmann: Yeah, good question. I’ve never really thought about that, to be honest. We just go about our business the best we can, and sometimes I wonder where it’s really coming from, all that creativity. Sometimes I don’t even wanna think about it. I’m just glad it’s still there, you know? Every time we go to make a new record, we sorta have to do the same procedure which is get serious, lock ourselves away into a room somewhere, and get to work. Other than that, we’ll never come up with any song. It’s not like we wake up one day, and they’re finished in our heads. I never have any middle-of-the-night inspiration that just sorta comes flying my way. It’s just something that you have to tell yourself: “Well, if we wanna have a new record out next spring or something, we better start writing stuff now,” because counting backwards we’ve gotta get it done by such-and-such date, and that’s when the pressure starts building and you think to yourself, “Oh shit, we better start working on some ideas here.” [Laughs] It always happens. I don’t know how. Usually if you just try hard enough, something will take shape and then the songs start appearing before your eyes before you know it.
That simplicity is something that’s benefited you guys for years now, and that longevity is something that’s a bit of a rarity in any genre, much less heavy music. What was it that initially brought you guys together in the beginning, and in your mind what’s kept that drive to create and continue intact?
When Peter and I got to know each other which is by now 35 plus years ago, we were just pretty much kids, teenagers in the same village or hometown. We just loved making music, and that same love is still there. When he and I get together for these songwriting sessions, that mutual understanding and that love for jamming, that’s still the same, and that’s never gone away. I don’t think that ever will go away. As long as that is there, we can keep this going. As soon as you say to yourself or feel maybe where it becomes a routine or a chore or “Oh god, we have to,” and it’s no longer fun, then I think it’ll all go downhill from there. That to say it’s a magic time in the studio with the songwriting process when you start with just a basic riff, and at the end of the day you look back and you’ve created a song that maybe will stand the test of time. It’s just a miracle. But also, one should never forget at the end of the day it’s also a lot of work. You have to put in the hours. It just doesn’t come by itself. It just doesn’t work that way, and that’s something that you can easily forget sometimes. It just takes time and practice and hopefully after you’ve done it for so long, you get better at it. And really the magic or the miracle is can you differentiate between a crappy idea and a good idea early on, because so many of us get sucked into believing it’s just magic automatically, but it’s not. Only a small percentage of what we write will ever see the light of day. The rest just has to be tossed aside for good reason.