Accept‘s origins can be traced back to 1968, but their professional career began after numerous line-up changes in 1979. Now, after a forty year career with a hiatus or two in between, we can see how they fair up on ‘Too Mean To Die’.
Interlacing gothic rock with classic metal, opener ‘Zombie Apocalypse’ bounds with power metal chords and off-kilter breaks that make for an ominous mix that slowly weaves between one and the other in a progressive manner rather than quickly jolting from one side to another. Even invoking the devil with deep spoken vocals from Mark Tornillo, it could easily come off as cheesy but they instead feed into the cauldron extremely well.
That’s unfortunately where the interest starts to wane. The title-track and following number ‘Overnight Sensation’ repel the demonic side and verge over to the light, which lyrically expose the shallow side of life but in doing so Accept lose the initial creative opening.
Delicately opening with acoustic strings, ‘The Undertaker’ takes things up a notch, fusing 80s bass lines, gothic choirs, and dramatic riffs from Wolf Hoffman and Uwe Lulis that, with a few unique solos, turns the diversity back up to where it should be.
Roaming the lonely road, ‘The Best Is Yet To Come’ is an explorative self-reflective piece that focuses on building up stronger from every experience and frustration, featuring the tempered beats and emphatic splashing cymbals from Christopher Williams who can switch between any speed or temper deemed necessary.
‘Too Mean To Die’ is really a mixed bag of ups and downs that could make a great starting for something epic. Yet, for a band as experienced as Accept, it falls short of the mark with staple classic metal in many places.