Accept's 'Too Mean to Die' - Album Review

If there was ever a band that proved the (frankly ridiculous) mantra that a veteran band cannot replace their iconic frontman late in their career and still find success to be wrong, then Germany's Accept are such a band. A few others, such as Queensrÿche, also spring to mind; but with Accept now 12 years into the Mark Tornillo era, the band really are firing on all cylinders. I think it really helped that the band really burst out of the gate with Tornillo in a big way. 2010's Blood of the Nations was probably the band's most vital album since 1985's Metal Heart, despite five enjoyable albums filling that 25 year gap, and Accept have largely kept to that standard ever since. The recent Accept discography is one of the most solid of any veteran act in recent years, with the songwriting trio of Mark Tornillo, guitarist Wolf Hoffmann, and bassist Peter Baltes churning out crunchy anthem after crunchy anthem. This stability was probably a big part of the band's success, which was why I was shocked when Baltes left the band in 2018. The founding bassist had been one of the stalwarts of the band since their 1976 genesis - appearing on all of their albums in that time. Baltes was not just a founding member of Accept however, as he was also one of their main songwriters. Apart from Hoffmann, Baltes had probably contributed the most the Accept sound and songwriting style over the years - and I was concerned that without his steady hand the band's quality would suffer going forward. If any album was a good one to go out on however, then 2017's The Rise of Chaos (which I reviewed here) was as good as any. The band's fifteenth album, while perhaps not the strongest of the recent glut, was a concise, fun album that showcased all of Accept's hallmarks perfectly - with perhaps a little more focus on hooks than heaviness. Baltes' departure has left Hoffmann the only original member of Accept left standing, but the guitar wizard was clearly not ready to let the band die yet - and came back roaring last month with the sixteenth Accept album Too Mean to Die. In many ways, Too Mean to Die picks up exactly where The Rise of Chaos left off four years ago. On the whole it is not as heavy as Blood of the Nations or the other earlier Tornillo-era albums, but there are still plenty of hooks (as well as plenty of classic Accept crunch) to be found. Replacing Baltes is Martin Motnik (Dark Seed; The Roxx), but the band have also expanded their ranks and added a third guitarist in the form of Philip Shouse. I am not sure that having a third guitarist adds much to the established Accept sound at this point, but Shouse's addition is likely to really bolster the band's live sound - even if his additions to Too Mean to Die are not necessarily noticeable. Guitarist Uwe Lulis and drummer Christopher Williams both return from The Rise of Chaos, rounding out the band. With the Tornillo/Hoffmann/Baltes songwriting trio broken up too, there is a bit more diversity in the songwriting credits this time around. Tornillo and Hoffmann are ever present, but significant contributions from both Motnik and Hoffmann's wife Gaby (aka Deaffy, who has not contributed to the band's songwriting since 1996's Predator) help to ensure that the quality throughout remains high.

Those, like me, concerned that Baltes' departure would affect the band's signature style somewhat ought to be reassured by the album's opening track that all is well. Zombie Apocalypse is a classic-sounding Accept track that takes everything the band have been known for over the years and throws it into a blender. Despite the slightly strange, slowed opening riff; which actually helps to create an unsettling, doomy tone early on; the track is a classic Accept anthem. It is not as doomy or as slow paced a the opening would have you believe, and it is a track that immediately lets you know that the new six-piece Accept line-up means business. The main riff is a classic Hoffmann stomper, while Motnik has stepped into his role with relish with a prominent, pounding bassline. Tornillo, now 66, is showing no sign at all of slowing down. His Brian Johnson-esque rasps are still as potent as ever, and the venom he injects into the song's pacier pre-chorus showcases his power. As much as I love Udo Dirkschneider, I have always thought that Tornillo is a more versatile frontman. In my view, he does the anthemic choruses more justice than Dirkschneider ever could - which is evident during the hooky effort here. The first of Hoffmann's many guitar solos on this album is also a memorable moment; with a crashing, slower rhythm behind him as he lays down his tortured leads, before the solo then explodes into a more typical shred-fest. The album's title track follows, and is even more classic Accept than Zombie Apocalypse. While the song's main riff is a little close to Dio's Stand Up and Shout for comfort at times, the energy and Tornillo's razor-sharp vocals make is very enjoyable cut. While most of Accept's best known songs tend to be their mid-paced anthems, they are also been known for their speed metal side - and Too Mean to Die perfectly captures that element of the band's sound. Williams' drumming is precise and metronomic throughout, while the band's three guitarists lock in for plenty of explosive riffs and rhythms. The song might not be as catchy as some of the offerings here, but the energy created throughout, and the sheer amount of riffs present, will excite any a metalhead. Overnight Sensation is the first song here that really goes for the band's classic mid-paced anthemic sound however - with a great gang vocal-led chorus that will go down well live, and a propelling Motnik bass presence. It is a song that harks back to tracks like Restless and Wild and London Leatherboys from the band's past, and it contains one of my favourite riffs on the album - which is just so memorable from the off. As much as I like the band's faster songs, I feel that the band truly excel when playing this ultra-catchy brand of anthemic metal. They have often been referred to as the heavy metal version of AC/DC, and I think that moniker is apt when listening to their bouncy stadium rock anthems such as Overnight Sensation. It is one of the best cuts here as a result, and is likely to become a future live favourite.

No Ones Master picks up the pace again somewhat, and goes for a Zombie Apocalypse-esque style hybrid sound that straddles the line between the band's anthemic and speed metal sides. In many ways, this is probably Accept's default sound - with the mix of sounds allowing the band to showcase all that is great about them in one place. This is another standout track for me, largely due to the huge chorus, that again relies on layers of gang vocals, and the sheer amount of excellent guitar playing from Hoffmann. There are a lot of tasty leads thrown in throughout the track, along with a handful of memorable riffs, but this is a track where he has clearly allowed himself plenty of chances to shine. The leads throughout the song are strong, but the solo section is possibly the album's best. It is lengthy and full of memorable phrases; and it ends with a great dual-lead section with either Lulis or Shouse joining him for some great harmonies. Another favourite track of mine here is The Undertaker which is possibly the heaviest and doomiest track on the album. It opens slowly however, with some clean guitar melodies and bluesy leads, before Motnik's bass kicks in and Tornillo starts singing the first verse with something of a whisper. The verses maintain this more low-key vibe throughout, but this just allows them to act as a great contrast with the heavier pre-choruses and choruses which see the band operating at their mid-paced best with some great Black Sabbath-esque riffs and some of the most throat-shredding vocals from Tornillo. The song sounds a little different from the classic Accept sound as a result, but I think the style works really well. The doomy atmosphere allows the band to shine, while the more diverse arrangement helps the album from feeling stale as it reaches its middle. It also allows Sucks to Be You, the next song, to sound more potent and powerful as a result. Sucks to Be You, like Overnight Sensation, is a strong mid-paced stomper, with driving rhythms and plenty of hooks - but it seemed the band looked back to their mid-1980s album for inspiration here. There is certainly plenty of the more radio friendly sound of Metal Heart here, with lots of big vocal harmonies mixed in with the band's traditional gang vocals and pummelling riffs. Metal Heart is one of my favourite Accept albums, so the glossier sheen here is certainly welcome, and again it helps the track to stand out. Symphony of Pain is similar, but with less of a sheen. Instead, the track certainly channels the No Ones Master energy to great affect, but the song sounds somewhat heavier overall. The focus here is definitely on the riffs, with the overall arrangement helping to shine the spotlight on them - as well as on the song's chorus which comes out of left field with a pace chance. The chorus sees Williams laying into his double bass drums with real venom, while Hoffmann and co. lay down a slow-paced riff over the top of it, for a strange, yet effective, section that has black metal aesthetics pushed through a classic heavy metal filter.

The Best is Yet to Come is the album's only ballad, and it provides a nice change of pace as the album starts the home straight. True ballads are quite a rarity in the Accept canon, and that makes The Best is Yet to Come stand out - in a good way. While the choruses are heavier, and sound more like classic Accept, the verses are slow, and almost gentle, which allows Hoffmann to lay down some neat bluesy leads - but the standout performer here is Tornillo. His verse vocal performance sounds so different to his usual style, and my earlier point about versatility is certainly proved here. He is much more a diverse vocalist than many probably realise or give him credit for, and his performance throughout the verses of this 'delicate' ballad should certainly raise a few eyebrows. How Do We Sleep gets back to the band's classic sound however, but with a great emphasis ever on Hoffmann and his guitar playing. The song's lengthy intro is essentially just a showcase piece for him, with some great neo-classic leads set against a backdrop of crunchy riffs, and as a result of this, as well as the overall arrangement, the song feels a little more progressive than the average Accept track - while still staying true to the band's core sound. Hoffmann is also more of a nuanced guitar player than many have given him credit for over the years. He is well-versed in his classical music, and that occasionally creeps into his playing - with this song having a certain grandness as a result. While there are other songs here that I prefer from a melodic or hooky perspective, this is certainly one of the most interesting from a compositional and arrangement perspective; and it is a track that shows that Accept can be more than just the AC/DC of metal. Not My Problem, however, showcases that the band sometimes indeed are the AC/DC of metal - and that is certainly a good thing. The song is a potent hard rocker with a razor-sharp chorus, and a great call-and-response verse that sees Tornillo and the band's three guitarists going back and forth between riffs and lyrics with catchy ease. There are better examples of this mid-paced stomping style here, but the track is another winner - and Tornillo's screams at the end of the choruses are some of his best vocal moments on the album. The album comes to a close with the instrumental piece Samson and Delilah, a Hoffmann-arranged version of a piece of music from Camille Saint-Saëns 1877 opera of the same name. Hoffmann's love of classical music is certainly on display here, and the piece is a truly a showcase for him to show off his playing. The rest of the band back him up admirably with crunchy rhythms, but Hoffmann's tight lead playing and neo-classic stylings is of course the highlight. It is great way to end what is a surprisingly diverse album and a final reminder, if one is needed, as to what a great player Hoffman is. Despite the diversity however, Too Mean to Die is clearly an Accept album through and through, and it certainly continues the good work established on the band's last four albums - with the fifth Tornillo-era effort being every bit as good as what came before. The band have clearly survived Baltes' shock departure, with some new blood helping to keep things fresh and interesting - but long-time fans should rest assured knowing the band's established sound is still alive and well.

The album was released on 29th January 2021 via Nuclear Blast Records. Below is the band's promotional video for The Undertaker.