Accept - Stampede (Single) (2014)
Release Date: Jul 11, 2014
The band has released a new track "Stampede", which opens the album "Blind Rage". Quote:
With their brutal, simple riffs and aggressive, fast tempos, Accept were one
of the top metal bands of the early '80s, and a major influence on the
development of thrash. Led by the unique vocal stylings of screeching
banshee Udo Dirkschneider, the band forged an instantly recognizable
sound and was notorious as one of the decade's fiercest live acts.
Despite recording two of the best heavy metal albums of the decade in
Restless & Wild and Balls to the Wall, Accept remained too heavy and
extreme for American audiences to embrace -- even when they tried to
tone down their act with more melodic songs. Ultimately having conquered
the rest of the world, but with their career stalled in the U.S.,
Accept fell apart, but reunited years later to confront a radically
changed music marketplace.
I'm a Rebel
Vocalist Udo Dirkschneider formed Accept in his hometown of Solingen,
Germany, in the early '70s, but it wasn't until quite a few years later
that the band settled on a somewhat stable lineup, including guitarists
Wolf Hoffman and Gerhard Wahl, bassist Peter Baltes, and drummer Frank
Friedrich. A well-received performance at the Rock Amrhein Festival in
1976 brought them national attention, and they finally obtained a
recording contract after replacing Wahl with guitarist Jörg Fischer two
Issued in 1979, their eponymous debut was badly produced, featured
mostly subpar songwriting, and did absolutely nothing for the group. But
with the arrival of new drummer Stefan Kaufmann prior to 1980's
much-improved I'm a Rebel, Accept had the final ingredient they were
looking for, and their popularity began growing by leaps and bounds.
Released in 1981, the even more accomplished Breaker was engineered by
Michael Wagener (who would go on to produce such major hard rock acts as
Mötley Crüe, Alice Cooper, and Ozzy Osbourne, among others) and
continued to develop Accept's trademark sound, featuring the massive
crunch and tight precision of Hoffman and Fischer's guitars laying the
foundation for Dirkschneider's inimitable shriek -- akin to Bon Scott on
helium. They also signed a worldwide deal with CBS Records subsidiary
Portrait, and secured professional management from Gaby Hauke, who,
under the Deaffy pseudonym, would help the bandmembers write most of
their English lyrics from this point forward.
Despite Fischer's sudden departure after a successful European tour
supporting Judas Priest, the band was now poised to conquer Europe with
its powerful Teutonic heavy metal.
All the elements were falling into place, and with the release of 1982's
Restless & Wild, Accept finally stamped their passports to stardom.
A heavy metal milestone, the album broke the band's career wide open,
established its signature sound for years to come, and in the incredible
"Fast as a Shark," featured possibly the first true thrash metal song
ever recorded. Guitarist Hermann Frank was brought in for the ensuing
tour, which, thanks to their ferocious live shows (including
choreographed headbanging stage antics), turned Accept into true stars
all across Europe and the U.K. Released in 1983, the equally revered
Balls to the Wall was an even greater commercial triumph, and qualified
as one of the most obsessive, sexually explicit albums of all time.
Led by the controversial title track, it broke Accept worldwide and
earned them their first magazine headlines in America. Fischer was
invited back into the fold at this time, and Accept embarked on a
yearlong world tour that took them as far as Japan and culminated in a
triumphant appearance at the 1984 Castle Donington Monster of Rock
With America now looming in their sights, Accept decided to hire
producer Dieter Dierks (of Scorpions fame) to give 1985's Metal Heart a
more commercial edge and extra sense of melody. Also with U.S. audiences
in mind, they abandoned the hedonistic fetishes of releases past in
favor of a much lighter sexual tone and typical heavy metal subject
matter like the title track's apocalyptic vision.
The results were mixed, for while the album certainly helped to further
their cause in the States -- where they embarked upon a very successful
tour sharing a double bill with Swiss hard rockers Krokus -- it
tarnished their reputation among some of their loyal following back
home. A live EP recorded in Japan entitled Kaizoku-Ban kicked off the
new year, as the band prepared to begin work on its seventh album,
Russian Roulette, again with Michael Wagener at the controls. A somewhat
rushed, halfhearted attempt to backtrack into more aggressive metal
territory, the album led to a serious splintering within the group, and
after headlining a sold-out European tour with Dokken in support, Accept
announced that they were taking an open-ended break so that
Dirkschneider could record a solo project.
Simply called U.D.O., the singer's first album, Animal House, was
actually written and performed by his former bandmates. But when U.D.O.
released a second album, Mean Machine, in 1988, backed by a new band,
the remaining members of Accept (Fischer had left once again) began
trying out new vocalists, eventually settling on American David Reece
for 1989's Eat the Heat. A lightweight metal album, it bore little
resemblance to classic Accept, and the band's subsequent U.S. tour (with
second guitarist Jim Stacy) was first interrupted when Kaufmann
suffered a back injury (he was replaced by House of Lords' Ken Mary),
then cut short due to poor ticket sales and increasing personality
differences with Reece.
The group eventually disbanded and, except for the release of 1990's
Staying a Life (a live album featuring the original lineup in its
prime), nothing was heard of Accept for the next three years.
To everyone's surprise, Dirkschneider, Hoffman, Baltes, and Kaufmann
eventually reconvened in 1992 to record Objection Overruled, which fared
relatively well in Europe but didn't even dent the alternative
rock-dominated U.S. market. The band continued to tour Europe and
recorded sporadically over the next few years, releasing Death Row in
1994 and Predator (featuring Damn Yankees drummer Michael Cartellone) in
1996. Their final world tour included swings through North and South
America and concluded with a number of sold-out engagements in Japan,
after which Accept officially called it a day until, 14 years later,
they came out of retirement to release their 12th studio album, Blood of
Nations, in 2010. Stalingrad: Brothers in Death followed two years
Accept worked with Andy Sneap again to produce thirteenth studio album,
completed in early 2012. Entitled Stalingrad, it was released in April
On April 8, 2013, Wolf Hoffmann told Chile's Radio Futuro that Accept
had begun writing new material for their fourteenth studio album and
would "definitely go back to the studio as soon as [they]can." Four
months later, on August 9 at the Bloodstock Open Air festival 2013, Wolf
told Metal Shock Finland:
Our upcoming album is hopefully going to be out next year. We've
started working on writing some songs; we haven't recorded anything yet.
But over the winter — maybe early next year — we'll start recording it
and try to make it every bit as good as the last one, maybe even better,
if we succeed, we'll see... It's going to be as heavy as the rest.
Accept will release their new album Blind Rage on July 18, 2014. Disponible sólo a los usuarios