Tag Archives: Wolf Hoffman

Accept’s New Album The Rise Against Chaos Out On August 4th


OUT: August 4th, 2017


Line up: ACCEPT online:
Wolf Hoffmann | guitars

Peter Baltes | bass

Mark Tornillo | vocals

Uwe Lulis | guitars

Christopher Williams | drums




Teutonic metallers ACCEPT could already claim big worldwide success with »Blood Of The Nations« and Stalingrad, but with Blind Rage, they reached the pinnacle of their career in the form of the pole position, a #1 album. Besides, #1 in Germany, ACCEPT also hit #1 in Finland as well as several top 10 positions; Czech Republic, Hungary, Sweden, Switzerland, the UK and last but not least the US. After releasing a string of metal classics in the 80s such as Breaker (1981), Balls To The Wall (1983) and Metal Heart (1985), which made them iconic, the band with Wolf Hoffmann and Peter Baltes still haven’t peaked, especially if you glance across their touring schedule; ACCEPT have headlined Woodstock Festival Poland, Wacken Open Air, Czech Masters Of Rock Festival and Bang Your Head!!! Festival, Germany – amongst countless other performances over the last few years. Their Bang Your Head!!! The performance was also filmed and released in the form of a live DVD/Blu-ray+2CD package titled Restless And Live (2017), reminiscent of their classic Restless And Wild (1982). With this DVD in the fans’ hands, ACCEPT could cement their previous success from Blind Rage by hitting #1 on the Swedish and German DVD charts amongst others.

Image result for accept rise of chaos


But that’s enough nostalgia – back to the present, back to 2017! After the DVD above’s unleashing and an almost 3-month European tour, ACCEPT speed around the corner with their new album »The Rise Of Chaos« which will cement their status as genre leaders once again. Guitarist Wolf Hoffmann comments on the album title, “The Rise Of Chaos is something I have been thinking about often. It describes a condition which is slowly spreading around the world. With the stage setup on our latest European tour, we wanted to portray rather dystopian and destroyed scenery. If you now take a look at our new cover, it’s the same imagery. This time however you can also spot the invisible destruction that we feel more and more in these times, as well as the visible destruction.”

ACCEPT continue along the path they started with their three previous records, which is why the band has recorded their 4th studio album since 2010 once again with Andy Sneap. The exceptionally detailed artwork was created by Gyula Havancsák. “Previously our cover artworks had been simple and focussed on one message. But this time, we wanted to make it more interesting by using an atmospheric picture where you can find a lot of hidden details, but also with a clear and thoughtful statement present,” adds Wolf.

The band delivers more than just a musical statement with The Rise Of Chaos, in this case it’s a clear announcement (!) – with the straightforward opening track ‘Die By The Sword’: Galloping drums, lightning guitars and ACCEPT’s trademark choir instantly silence any doubt as to whether they’re still the top dog when it comes to top-notch Teutonic metal. Second track ‘Hole In The Head’ leaves no time to breathe, before the title track kick-starts and tries to pummel its way through the listener’s ear canal. This song may evoke a sense of familiarity within listeners because it was previously released with an impressive music video. After consuming the upcoming ‘Koolaid’ shake, ‘No Regrets’ keeps heads banging with its speedy guitar solos, which concludes the 1st half of the record. ‘Analog Man’ rings in the 2nd part, telling the story of the world increasing digitization: It’s haunting (pre) chorus should undoubtedly confirm its place in forthcoming ACCEPT set lists. Track number 8, ‘Worlds Colliding,’ marks the album’s most thoughtful song, swiftly followed by the fastest banger of The Rise Of Chaos, ‘Carry The Weight.’ After 45 minutes, the closer, ‘Race To Extinction,’ lets the record fade out fittingly.

The songs from The Rise Of CChaos will be performed for the very first time at Wacken Open Air 2017’s Night To Remember. Besides new ACCEPT tracks, Wolf Hoffmann will also bring his latest solo album titled Headbangers Symphony (2016), which showcases famous pieces by classical composers such as Beethoven, Vivaldi and Mozart (specially arranged for the metal world) on the stage for the first time ever; he will be supported by the Czech National Symphony Orchestra. The last and concluding third part of this once in a lifetime evening will be fulfilled with a classic ACCEPT set alongside the orchestra.

Wolf Hoffmann states, “It’s always impressive to see how bands take this evening seriously and how much love the artists and the organizing team put into their work to get a varied result. It’s a great tradition which underlines and documents the top-notch level of the international rock community like nothing else. We also want to present something that ACCEPT has never done before; we hope we can give something special to the fans.”

“ACCEPT have been and are still a very important part of Germany’s heavy metal scene. We’re looking forward to having them with us once more. With this epic concept, the Thursday evening will be one to remember for sure,” closes Thomas Jensen, organizer of Wacken Open Air.

Review and Interview: Herman Frank’s The Devil Rides In

By Andrew Catania

Herman Frank, a heavy metal guitarist from Germany has previously earned recognition as the guitarist for the band Accept which played a monumental role in the development of Speed and thrash metal. Although Frank’s career boomed with Accept after joining the band in 1982, he continued to thrive as a musician by expanding his horizons and techniques.

Herman stretched his experience to record with Hazzard, Sinner, Saeko and numerous other artists and bands. On November 18th, 2016, the former Accept member released a new solo album ‘The Devil Rides Out’ on AFM Records.

While listening to the album, I realized that this album is a definite deviation from his tried and tested methods in the previous two solo albums he has released.  I can’t help but wonder if “The Devil Rides Out” is meant to be a personal testament to his musical career.

The music is energetic and guaranteed to induce a testosterone-induced desire for adventure. You’ll definitely want to hit the road or a bottle of whiskey. It’s experimental and most of all, influenced by elements from his entire musical career. It’s an accumulation of the classical Accept techniques, blended in with the traditional headbanging of the 80’s and ceaselessly transforms into modern musical techniques inspired by recently studied musical techniques and aims to engage the modern generation that has lost touch with the good old days of hard metal.  Herman’s writing skills were merely ignored while he was in Accept.  The Devil Rides In proves that Herman cannot only right, he can put together some kick ass music.

Overall, I was compelled to give the album a 8 out of 10 stars and moreover, I couldn’t help but reach out to Herman to gain first-hand access to the legend himself who has continued to transform the heavy metal music industry since the 1980’s. Luckily, he obliged and spoke to me briefly in a rare insight into the musical aspirations of the man who brought us “The Devil Rides Out.”

What took you four years to release The Devil Rides Out after the release of Right in the Guts in 2012?

Well, the second solo album I realized was quite successful and I wanted to release a third. However, back in January, I decided to wait before I released the third album because I wanted to give justice to my ideas. If I had released it in a hurry, I wouldn’t have been able to deviate from my traditional style and I wanted this opportunity to be a testament to our years of experience in the music industry. The Devil Rides Out was only going to be released once and there was no way I was about to butcher it just to release another solo because it was expected. This album needed justice and that’s what we did with it.

Me: How did you all come together for The Devil Rides Out and how was the album written?

So I decided to bring together people I’ve previously had the privilege of working with or listening to and whom I believed would be able to create the perfect album keeping in mind the new styles I wanted to try. Rick had worked with Masterplan and I had worked with Accept and Rick also agreed to discuss some ideas. Rick and I locked ourselves in for two weeks and came up with some songs and he sang them. We recorded a few and realized they were better than we had ever imagined them to be. Those were two of the most grueling, inspiring weeks we spent together. All we needed was a drummer and bassist and once we settled in the direction we were planning to head in, we immediately contacted André. I was in touch with André and he fell in love with the musical concept and immediately came on board. There was Rick and he brought Mühli on board and we realized our band was complete.

 That’s quite a story. I felt a shiver go down my spine as you spoke. The passion is incredible. Now, let’s move on to cover more on your journey as a musician. I have thousands of readers that are inspired to follow your journey and become musicians themselves. They would love to know how you differ from your work in accept as compared to the work you do on your solo albums.  

That’s an interesting question because I’ve personally reflected on how much I’ve changed as an artist over the years. Accept was great, they gave me the leg up, dedication and commitment I needed to succeed in this career. My writing skills were mostly ignored as Wolf wanted to do all of the writing.  A lot of young musicians believe that to succeed, all they need is one solo viral record on iTunes or whatever. However, that’s incredibly hard to achieve. I urge them all to join a band because a band is like your family. When I was in Accept, there were days I was too tired and feared that we would fail and my teammates would force me to try over and over again. Everyone had those days and we were all accountable to one another. The music had to be collaboration and filled with mutual understanding and compromises. We had deadlines and had to meet them. With Accept, I guess I was more of a systematic musician. It was a community where you thought of yourself last.



Check Herman out at http://www.hermanfrank.com/