Accept
Stalingrad

Of course, "Stalingrad" had every chance of remaining forever in the shadow of its remarkable predecessor, especially since it generally followed the canons established on "Blood of the Nation." However, that same "predecessor," among other things, demonstrated that Accept doesn't need to strive for unimaginable heights, experimenting recklessly and surprising listeners with unexpected twists to achieve success. Catchy melodies, memorable vocal lines, and a constant supply of penetrating riffs are the key ingredients of success. And even professional critics, tired of the adolescent awkwardness and hysteria of "fashionable" extreme genres, no longer complain about the relative simplicity and predictability of the material. So tired, in fact, that even the long-accused clichés of heavy metal's "masculine brutality" are now almost considered a merit. But away with the colorful panties of musical trends. It's time to return to the banks of the Volga, stained with the blood of one of the fiercest battles in human history... The overall commitment to harsh melodies this time around left no room for the (relatively) traditional ballad. But the new album also lacks overwhelming, uncompromising heaviness – after a gallant start, the album also pays tribute to the lyrical side of hard rock (most notably "Shadow Soldiers" and "Twist of Fate"). Moreover, the deviations from the "military" theme ultimately leave their mark – the album's finale is far from clear, and a bit of the saving drive of the seven-minute (and frankly drawn-out) "The Galley" would certainly have been welcome. However, the overall advantage, and overwhelmingly so, remains with the compositions featuring a powerful, dense, and slightly "dirty" sound, which fits the description "modern." Overall, however, it's clear that, regardless of the sonic nuances, the material is rooted in 1980s traditions: it's not hard to sense the legacy of "Balls To The Wall" or "Restless And Wild" even in the almost thrashy "Hellfire"... Although, in terms of the intensity and variety of solos, it certainly stands apart from other Accept tracks! It's a shame that the guitarists' improvisational activity becomes much more moderate later on. Furthermore, the first half of the album arguably gains in quality due to its extreme density of hit songs. Here you have the merciless "Hung, Drawn And Quartered," the heroic "Stalingrad," and the aforementioned contrasting "Hellfire" and "Shadow Soldiers." Interestingly, this particular quartet of songs was a regular fixture on the setlists of Accept's most recent tour—a rare instance of personal preferences completely aligning with the band's own favorites. And in terms of the level of controversy generated, nothing comes close to the title track. Germans have always loved to "quote the classics"; this time, Alexander Alexandrov was one of them, with his famous melody of the Soviet anthem (and, since 2000, of modern Russia). Minor scandals inevitably arose along Accept's tours in countries that, in one way or another, considered themselves historically wronged by the "evil Soviets." In the Baltics, Finland, Hungary, and Poland, the performance of the familiar tune was invariably accompanied by whistles (even if not widespread) and angry shouts from the crowd, and concert reports included rather malicious comments about not only "Stalingrad" but also the supposed ideological slant of the band as a whole. However, despite all the efforts of the troublemakers, they never succeeded in igniting a full-blown, large-scale conflict. However, everything that transpired did provide significant, completely free PR for the band itself... Just as planned? Leaving aside the lyrical content debate and returning to the quality of the music itself, it's worth noting that "Stalingrad" never quite reached the quality standards of "Blood of the Nation." So it's unlikely this album will ever be considered a landmark. But this hardly worries anyone, as Accept have secured their impressive position on the classic heavy metal front for the long haul, and they're unlikely to voluntarily abandon it in the coming years. And even their immediate competitors seem to have given up hope that anyone could challenge the veterans' position.

The 13th studio album by German heavy metal band Accept, which was released on 6 April 2012. The album was successful, debuting at number six on the German albums chart. Stalingrad also debuted at number 81 on the Billboard 200, becoming Accept's first album to crack the top 100 in the United States since Metal Heart (1985), which peaked at number 94.

Accept's second album with Mark Tornillo on vocals continues the success of Blood of the Nations, with another set of strong songs. If anything it proves that the previous album was not a fluke.

2012 album from Accept with Mark Tornillo on vocals. It contains 10 tracks total , including Stalingrad, Revolution and Hung, Drawn And Quartered.

I really enjoyed listening to Stalingrad and the Blood Of The Nations !!! At first, of course, there were doubts, but they disappeared with the first chords of great music! And Accept's new voice came in very handy, although I pay tribute to UDO, but that’s another story. And you can listen to UDO separately, it certainly doesn’t shine lately.

gran disco de esta gran banda historica del heavy metal