Accept
Objection Overruled

Germany, early '90s. Unlike other American or British bands, German bands have made a name for themselves in the HM scene thanks to a musical consistency like few others. We're talking about bands like Helloween, Rage, Axxis, Scorpions (a few exceptions), Running Wild, Edguy, Grave Digger, Gamma Ray. However, a different discussion is deserved by a separate group. Accept, which emerged in 1979 as one of the many hard rock bands trying to break through to record labels at the time, proved their worth over the years, going from two seminal albums to a slow change in their sound, which led them from 1981, the year "Breaker" was released, to 1986, the year "Russian Roulette" was released. During this period, the German group re-emerged as a strong institution in the worldwide HM genre but also saw the band's first breakup, caused by internal quarrels between David Reece (singer with whom the band released "Eat The Heat," their first album without Udo) and Peter Baltes, the band's bassist, who almost came to blows. Furthermore, the group realized that without Udo leading the band, it might not last long. Thus, Reece formed Bangalore Choir, the guitarist Wolf Hoffmann and bassist Peter Baltes decided to dissolve the band, and Udo formed his solo band, U.D.O. In 1990, just a year after the breakup, "Staying A Life," the band's first live album, was released, leading to reconciliation among the members. In 1993, the first album of the Accept reunion, "Objection Overruled," was released, which sparked curiosity about whether the band had made a misstep or created another masterpiece comparable to those of the '80s.

The album opens with the title track, one of the fastest pieces on the CD, which proves to be a real punch in the teeth; the guitars don't stop, nor does the drum, and Udo's voice, thought to have softened, scratches like never before. One of the best tracks on the album. "I Don't Wanna Be Like You" is a good piece, with a well-constructed chorus featuring the usual Accept choirs and a well-cadenced drum. "Protectors of Terror" is practically the same, although the bass emerges as one of the main protagonists, and the solo in this piece is wonderful. "Slaves To Metal" could be used as an anthem in stadiums since it seems to have some AOR influence, even though the guitars scratch in a way that is a pleasure, almost reminiscent of the title track. With "All Or Nothing," the pace begins to slow, marching towards the chorus, where the usual catchy and enjoyable chorus explodes. "Bulletproof" is negligible in my opinion, as it seems to be a copy of "I Don't Wanna Be Like You," even though there's a slight slowdown in the first part of the verses that perfectly disguises the similarity. "Amamos La Vida" is a beautiful slow piece where Udo showcases his voice even in a soft context, proving he can do more than just scream with his caustic voice. Excellent work by Hoffmann, who accompanies Udo's voice with an acoustic guitar masterfully. "Sick, Dirty, And Mean" is one of the fastest tracks on the album, along with the title track, where Udo's voice almost evokes the annoyance of chalk on a blackboard, with little screams here and there and a truly effective chorus. Noteworthy in this case as well is Hoffmann's solo, one of the fastest and best-crafted on the album, where getting goosebumps is almost mandatory, so great is the power it holds. "Donation" is a well-built mid-tempo but doesn't stand out as a song. "Just By My Own" follows the same line as "All Or Nothing," where the first few seconds remind us of this piece, but during listening, we can only remain silent and acknowledge the beauty Hoffmann manages to bring out of his guitar in pieces as exciting as few others. "This One's For You" closes the album excellently, with well-constructed speed, an explosive chorus like few others, and a solo to be proud of. The drum is excellent in this piece, following Udo in his fits in perfect style.

"Objection Overruled" does not make us regret the Accept of the classic era, but a change is in the air, and it's significant. The hardening of the guitars, the melodies seem to have gone away, and at certain points, the speed metal of the album seems to transform into thrash. This album was positively received by both critics and the public and put Accept back on the podium of HM bands to follow. Unfortunately, this CD will be the only notable one from the second reunion, as neither the subsequent "Death Row" nor "Predator" will succeed in recalling the Accept of the '80s. However, the band returned with great flair, intent on reclaiming the fame lost in almost four years of musical absence, and I have to say that they absolutely succeeded. In summary, if you loved Accept from the '80s, don't hesitate to listen to this record.