Accept
Death Row

Super sound and raging members of the band deliver an excellent album. Much better than ''objection overulled'' and ''predator''.

Reunited in the early 90s, ACCERT released the album Objection Overruled, which received rave reviews. The disc combines the classic tricks of the group and a new, truly fresh sound. A completely different assessment awaited the next release after him - "Death Row". It was not only ambiguously received by fans, but also from the maestro Dirkschneider himself received the stigma of "the worst album in discography." "Death Row" is indeed very different from the usual German material. For traditional heavy time, then it was not the best. The younger generation of listeners became interested in other styles. ASSERT tried to modernize their music. Hence the heavier sound, and, in some places, structural simplifications, when the large parts use the part of one guitar (instead of the usual two), and the more significant role of the bass in the overall musical canvas. The original melody of the album. The entire work of guitarist Hoffmann - both composer and performing, became somewhat different. His solos have changed. A new approach could be seen already on the disc "Objection Overruled". Only with this album it is correct to draw some parallels. But there are few of them. "Death Row" is still a different disc, with unusual guitar passages and a much darker atmosphere. It makes no sense to list all the differences. There are no mention here of any self-copying or blind adherence to previous standards! However, the vocals of Udo Dirkschneider are still recognizable. All album texts are imbued with acutely social themes. A clip was shot on the title track, reporting the errors of justice when the death penalty is applied to an innocent person. A deep meaning is laid in the ballad “Writing on the Wall”, which tells about the consequences of a global environmental disaster. I really liked the album. There are memorable moments in every song. (Although the disc is really hard to call hit) The famous fragment of “Saber Dance” (auth. Khachaturian) was successfully used on “Sodom & Gomorra”. The vocals on Stone Evil are partially synthesized, and an oriental motif is artfully woven into the music. For the first time, the original version of “Generation Clash” was recorded with Udo's voice (the song was composed back in 1986). The last two instrumental tracks, in a pleasant atmosphere, negate the whole gloom of the album. There is a misconception that after the recording of "Death Row" ACCERT split for the second time, before the release of the last longplay. In fact, then the group held a world tour (in the wake of which a double live was subsequently released) in support of the album and took a temporary vacation. Following the maestro Dirkschneider, many still condemn the group’s departure from its classical sound, both on this disc and on the release of Predator (1996) released after it (although musical ideas from recent albums are noticeable even on the 1997 solo disc UDO project). But I do not share the work of ASSERT, but I enjoy listening to all of their discography, which, together with the latest albums, has become even more diverse.

Super edition! Long time waiting album for me. ACCEPT collection is full!