Their seventeenth album in a career spanning almost fifty years, there are few bands that can compare to the legacy, the work ethic and the everlasting energy of teutonic titans Accept. Many bands that have reached a legend status like this will sit back a bit and enjoy a (well-earned) steady exposure of their back catalogue, but this is not the Accept-way! The German warriors have released a new shiny disk every two or three years since 2010, and though a new ‘Balls to the Wall’ status will never be reached again, that has never been due to the quality of the new material. The same can be said about their new effort ‘Humanoid’, which once again showcases who’s boss in the German heavy metal land! A track by track breakdown.

The album opens strong as steel with the blistering ‘Diving Into Sin’. The song has a slow start with an Egyptian-styled intro but kicks in mercilessly with Mark Tornillo’s unmistakable shrieks. The rebellious attitude that has defined Accept for over forty years is all over this one. The venomous guitar licks, sharp basses and not to mention the lyrics, this song is the ultimate middle finger to the people you hate!

‘Humanoid’ is the title track of this album for a reason. Here you can hear everything that Accept is since their glorious come-back ‘Blood of the Nations’. Ominous guitars by veteran Wolf Hoffmann, low eerie choirs like on the classic ‘Stalingrad’ and a catchy chorus revolving around the title of the song. This is one of the album songs I can’t wait to hear them play live with a pounding volume.

With a title such as ‘Frankenstein’ there is no need explaining what the song is about. Yet Accept manages to give the story a blend with the album’s overarching theme of killed hybrid robots, for the parallels run all over. With the numerous “Hey!” shouts in the chorus this is another track that is just bred for a live setting. The guitars in this one are a curious blend of traditional Accept and modern Judas Priest, giving this song it’s unique feel.

‘Man up!’ Life is hard, but whining about the cruelness of the world will get you nowhere. Starting off with some tasty guitars, this is your seventies-rocker and therefore approaches the legendary classics like those found on ‘Restless And Wild’. This one will make you tighten your belt and get out there to do whatever it is you want to have done in the past but never had to courage to pick up, a powerful message!

‘The Reckoning’ is the latest addition to the already endless list of metal songs about judgement day, the end of the world, four horsemen and all that. Well, the theme just works for heavy metal doesn’t it? Starting off with ominous guitars turning into a typical Accept-styled riff with pounding drums and a thundering bass beneath, this is a track such as you would expect a few to appear on an Accept album. Admitted, mainly due to the cliché topic this is not one of my favourites. But by no means is this a weak song, and a great guitar solo definitely gives it some edge.

We’re taken back on the clock once more with ‘Nobody Gets Out Alive’, which has the eighties Accept sound again. Clocking just over four minutes it is one of the shorter songs on ‘Humanoid’. The thriving pace of this song is mainly due to the relatively simple but tight and pounding drumlines. The message of this song is the ultimate equalizer: no matter who we are or what we to in live or how much money and power we acquire, in the end we all die.

Time to slow down to ballad-pace. ‘Ravages Of Time’ is the reflection of an older person on getting as old as he is now. Mark Tornillo is without any doubt the true star of this one, telling the tale as he sings it. The way he embodies this character is sure to send some serious shivers down your spine. Accept would not be Accept if they did not embed a beautiful guitar solo in their slow songs as well, so there we have it. This fantastic song is an obligatory track for all to listen to!

The title ‘Unbreakable’ suggests a typical Accept rocker, and the song lives up to that suggestion. The opening riff screams the band’s name all over again, but it is the playful bass play that gives this song it’s feeling. The song is a direct ode to all Accept fans and the fun and energy of the live concerts of the band. This topic alone makes the song one that begs to be played live.

The opening of ‘Mind Games’ gives me a sudden Iron Maiden vibe, probably due to the Steve Harris-like bass here. This particular praise is getting old, I know, but the riffing work is once again so sublime that it deserved special notice. It is hard to really pinpoint precisely what mind games the song is about, but it might be the shitload of mostly false information that is forced upon is via almost inescapable social media.

We’re on the highway to hell! ‘Straight Up Jack’ is almost as Ac/Dc as ‘I’m A Rebel’. The typical pace, short and punchy vocal lines and linear drums all attribute to the comparisons to the legendary Australian band. Perhaps it is a little obsolete to tell that this song is about drinking whiskey? Just give it to me Straight Up Jack!

Closing the album we can find ‘Southside Of Hell’. The riffing work is very reminiscent of Judas Priest’s ‘Painkiller’ album, so this song is indeed a speed maniac. One more chance to hear five natural born musicians fire with everything they have. Five more minutes of top-notch vocals, great riffs, soaring solo’s and a rock-hard foundation by Martin Motnik and Christopher Williams, ‘Humanoid’ closes off in style!

Accept is still a metal force to be reckoned with, and ‘Humanoid’ is the latest proof of that little fact. There is something for every fan of every era of the band on this album. The newer fans are sure to get their kicks with low-tuned and more modern sounding songs like ‘The Reckoning, ‘Unbreakable’ and the title track, while the old-school Accept fan will pick pieces like ‘Man Up!’, ‘Nobody Gets Out Alive’ and ‘Straight Up Jack’ as their favourites. Only one way to find out what song you will like best: Get or stream Humanoid on the 26’th of April and play it loud!