The Accept nowadays they are oxygen for the metalhead. I remember that years ago the situation was completely bad, and we stuck to it Grave Digger as if they were the artificial respirator needed to keep us alive. One behind the other Tunes of War And Knights of the Cross they preserved us in the shittiest years of Judas Priest and Iron Maiden’s careers. Today we know some of the songs by heart The X Factor and we think it’s beautiful Jugulator, but, in the heat of the moment, they had knocked us all out. Grave Digger was heavy metal that ran the way it deserved to roll; for the rest, European power metal had completely supplanted it. Uwe Lulis he was their guitarist. In Solingen, a German city known for the production of excellent wines traditional razors Merkur, Accept were fresh from the album Predator and they had officially disbanded. The years were around 1997 and 1998, I was a kid.
On the other side of the coin, today Grave Digger sucks and Accept are the historic group, aged disproportionately and led by someone who has less hair than Peavy Wagnerstill capable of acting as glue between metalheads. Starting from the much talked about reunion they have released three beautiful albums in rapid succession, of which I have not yet understood whether I prefer them Stalingrad or Blind Rage. Then they physiologically declined, but by this I don’t mean that they started to strictly suck like Grave Digger. They took their former guitarist Uwe Lulis into the lineup, expanded it to six elements, and, leaving Nuclear Blast, followed the trail of the smell of pussy and knocked on a new record label: Napalm Recordswith a bald leader who isn’t even Johnny Sins.
On the sixth album since returning to the scene, two things have almost disappeared, in addition to the remaining historical members: i mid-tempo impetuous at Balls to the Wall, manifest of the entire first period of the reunion, and those hard rock remnants who had tried in vain to dictate a new and alternative path starting from The Rise of Chaos. Which, forgive me, I liked at first but it is absolutely the weakest recorded by Solingen metalheads from 2010 onwards. Humanoid it is based on cleanliness, elegance and riffs. I’ll take two songs: The Reckoning And Nobody Gets Out Alive. Both have riffs that seem to come out of Hardwired of Metallica, with that clean and slightly dull heavy metal which, instead of seeking the shape and hardness of the rock, heads in the exact opposite direction. A heavy metal that perfectly represents their sixty-year-old authors, but that doesn’t mean it’s exhausted. I prefer them like this rather than the exhausting search for clichés to repeat, as in the track of the same name, with that part human part machine in the chorus which seems like a parody of Painkiller or any of Judas Priest’s songs about aggressive robots whose lyrics have oppressed us for decades.
In a recent interview Wolf Hoffmann declared that he had experimented with the help ofartificial intelligence to generate melodic lines and to lay down lyrics. As for Humanoid I can frankly congratulate him on the disaster he achieved. And write some bullshit to her, show us you care and let Judas Priest write stuff Judas Priest. I know that too Metal Heart it wasn’t all this sobriety, but don’t get into it now: write, what do I know, about the razors from Merkur in Solingen. Beautiful too Frankensteinwhile the trailblazer Diving Into Sin, with its oriental charm at the start, is certainly effective. Bad, perhaps very bad, the ballad Ravages of Time.
Nice return for Accept, definitely a step forward compared to the last two. Wolf Hoffmann, born in 1959, is the usual riff generator, and Mark Tornillo, five years older, and therefore seventy years old, does not disappoint this time either. What can you say to these people here? (Marco Belardi)
