Begun with an atypically sluggish guitar crescendo (can't tell it's Accept until the pace livens), "Zombie Apocalypse" is a screaming return of the Teutonic speed (yet still melodic), something in short supply on Rise Of Chaos (apart from "Die By The Sword" kick-off). As if to confirm Herr Hoffmann and Co. heard the belly-aching from old-timers (myself included), wishing for a (renewed) infusion of heaviness, the clickety-clack locomotive of a titular pre-release single follows, in a similar mode: fast. A strong pair to open, I'm all in.

Locking into that classic, swaying back-n-forth, mid-tempo Accept rhythm, "Overnight Sensation" sees Mark Tornillo's caustic pen rips the Internet culture and those who fall prey to its plasticity. Sample these lyrics: "I want to be famous, for nothing, just like a Kardashian. Tell the world my whole life story, even though I don't have one." Later, the chorus offers: "I get smiles & frowns, ups and downs, each and every afternoon. I get hearts and tears, wows and cheers, I never even leave my room. I need instant gratification. I'm an overnight sensation." The truth hurts... brilliant satire!

Perhaps the adoption of a guitar trio created the need for more aggression, requiring something of each string-bender in every song. Regardless of the impetus, "No One's Master" is another fleet fingered, flight of fancy, providing interplay amongst all the pickers. It talks about thinking for one's self and not kowtowing to outside influences: political, social, etc. Video cut "The Undertaker" is probably the most commercially accessible of the eleven options, but still a welcome addition.

"Sucks To Be You" is a phrase often uttered during my NJ upbringing. Guess Tornillo (an upstate resident) utilized it, as well. Simple, repetitive and infectious, can see this being an easy-to-mimic crowd favorite/sing-along, even for those who may not have mastered the English language (like many a Jersey knucklehead...I kid, I kid). During the break, Wolf adds a bit of his symphonic solo catalog (snippets of well-known Beethoven compositions) to "Symphony Of Pain". Another stormer!

"The Best Is Yet To Come" is the lone ballad. Some Celtic military beats/drumming starts "How Do We Sleep", another socially conscious look at the world, courtesy of the singer/lyricist. Musically, a decent, locked-in Accept anthem, complete with "whoa whoa" backing chorus. Energetic, albeit super-charged, Bon Scott-era AC/DC inspired blues rocker "Not My Problem" sounds good, a diversion, but its composers still readily apparent. Concluding with instrumental "Samson And Delilah", Hoffmann gets to strut his stuff (again), on a Middle Eastern flavored semi-classical piece.

Not sure if its the effect of the pandemic's imposed withdraw, absence making the heart grow fonder, or if this album truly is that good, but on early listens, easily the most, ahem, acceptable, product since the Tornillo-era debut, Blood Of The Nations. Get this damn Covid-19 out of the way, so we can all see/hear these songs live!