By Carl Begai
In 2010, German metal legends Accept ended a 14 year hiatus with Blood Of The Nations, an album that went over a storm in spite of the band doing the unthinkable (again) by replacing original vocalist Udo Dirkschneider. News that former T.T. Quick singer Mark Tornillo was fronting the band created a nasty buzz amongst Accept diehards, many of whom regarded the Eat The Heat record from 1989 a monumental bomb due to the addition of David Reece in place of Accept’s iconic original singer. Blood Of The Nations was anything but a failure, however, silencing the naysayers with band’s strongest record since 1993’s Objection Overruled and serving as a launchpad for a decade of metal mayhem. Too Mean To Die is Accept’s latest offering five albums in from their comeback, and it’s fair to say anyone who has stuck around since then or was weaned on the Restless And Wild, Balls To The Wall and Metal Heart albums will find it delivers the expected goods.
Asked if it registers that a decade has indeed passed since the Blood Of The Nations comeback, guitarist Wolf Hoffmann says “it sounds like a long time, but really, it goes by so quickly. But, sometimes I’m amazed at how much we’ve done in the last 10 years. Five albums, I made a solo album, we made a live album, we’ve toured all over the world. Yeah, we’ve done a lot (laughs).”
One of Accept’s last road trips before getting to work on Too Mean To Die was 2019’s Symphonic Terror Tour through Europe with the Orchestra Of Death. It was an important tour for several reasons and in truth was meant to be a Wolf Hoffmann solo tour. It simply grew to become an entirely different animal during the planning stages.
“That tour was really a lot of fun” says Hoffmann. “I have to say it’s one of the best tours I’ve ever done in my life from a musical and personal standpoint. It was very satisfying. And the funny thing is, yeah, it was supposed to be a Wolf Hoffmann tour; Accept snuck in as an afterthought. Originally I was going to go on tour with my solo project and an orchestra, but then it happened step-by-step that everyone said ‘Well, if you’re going to be on stage you’re going to play ‘Balls To The Wall’, right? You’re going to play ‘Metal Heart’, right?’ And you can’t really do that without a singer, which is how the Accept guys ended up getting involved. It was hard to communicate with the outside saying that it was an Accept show with an orchestra, because I was playing all these instrumentals during the show, but what are you gonna do? I just wanted to play stuff from my solo album (Headbanger’s Symphony) and we wanted to play some Accept stuff, so we did a 50-50 thing.”
Continue reading BraveWords Interview: ACCEPT – Screaming For A Wolf Bite
By Carl Begai
Udo Dirkschneider will tell you – and a host of press people and fans will agree – that his U.D.O. metal machine has been on cruise control for the past few years. Not that anyone was expecting the 62 year-old vocalist to abandon the sound he created with Accept a lifetime ago and kept alive with U.D.O. while Wolf Hoffmann and Co. explored their options before getting back into the game with a new singer, yet there was something painfully tired and all too predictable about U.D.O.’s last couple albums. As a result all but the diehard fans kept expectations low leading up to the new slab, Steelhammer, only to discover a vibrant in-your-face yesteryear U.D.O. pounding at the door. Gone are guitarist Igor Gianola and guitarist/producer Stefan Kaufmann, and along with the latter the compressed punch-card production and nigh-on-industrial tweakings have also disappeared. In exchange, Dirkschneider and his new bandmates have turned out an album worthy of the classic U.D.O debut Animal House (‘87) and over-the-top Timebomb record(‘91), proving there band has plenty of ammo left.
“I wasn’t really happy about the sound of the last two U.D.O. albums,” says Dirkschneider, singling out Dominator (2009) and Rev-Raptor (2011) as the guilty culprits in the band’s catalogue. “They were very cold. There are some great songs on those albums but there’s no feeling in there, no atmosphere. I think it was good that things happened the way they did. Steelhammer is a new start for U.D.O.”
Kaufmann’s departure was a surprise to folks outside the band, given that he and Dirkschneider came up together with Accept and have worked together pretty much non-stop since 1980. The decision to part ways was health-related, however, and not a typical music industry “creative differences” divorce.
“When we did the recordings for the Rev-Raptor album we had to stop for three months because he couldn’t move anymore,” Dirkschneider explains. “Then, on the tour he had to take painkillers, so he wasn’t in a good mood and the whole atmosphere in the band was bad. I’ve known Stefan for nearly 40 years or something, and after the last show in Kiev I told him we needed to talk about this, and I said that I thought it would be best if he stopped touring. Continue reading BW&BK Interview: U.D.O. – Nailed It!
By Carl Begai
During a recent interview with producer / guitarist Andy Sneap about working with his childhood heroes Hell (found here), we discussed the hands-on role he played in putting German legends Accept back into the spotlight with their 2010 comeback album, Blood Of The Nations. Calling the record a success is a massive understatement given the fact the band did it without original frontman Udo Dirkschneider, receiving praise for creating some of the strongest material of their career. Not only was Mark Tornillo embraced as Accept’s new vocalist, the songs as a whole seemed to reach back to the band’s classic early works without sounding dated. Guitarist Wolf Hoffmann has gone on record in numerous interviews claiming that Sneap was single-handedly responsible for kick-starting the Accept machine back to life, and while Sneap downplays his influence, he’s happy to be on board for the follow-up.
“I’m doing the new Testament album, and that should last about six weeks, so I’m looking at the end of August to start working on the next Accept record. I’ll pop over to Nashville and sit down with Wolf to go over ideas on that. The good thing about that and the Hell record, and the Testament record as well, is that I’m actually quite involved from the ground up. I’m not just coming in, pressing buttons and just recording the band; I’m actually a valued person to bounce ideas off. It’s almost like being an extra member of the band.” Continue reading ACCEPT – Blame Andy…