Another year, another album from Udo Dirkschneider. What's new? Quite a lot actually, with the "permanent" adoption of ex-Accept bandmate Peter Baltes (bass). It's actually the singer's son, Sven that we hear first, a couple of double bass drum beats commencing the "Isolation Man" kick-off. Almost instantaneously it locks into that trademark Dirkschneider/Accept sound, lamenting the solitary confinement. Towards its end, a news commentator voiceover discusses the Covid lockdown and isolation strategy. 

"The Flood", complete with watery sound effects, has a slower groove, focusing on Udo's gritty vocals. It espouses never giving up, despite being overwhelmed (as in a flood). Back to the Accept bounce for "The Double Dealer's Club". Read you want to into the lying, cheating and backhanded dealings referenced (and compared to the Hunger Games) and the fact Baltes is allowed to add a prominent, one line vocal ("in the double dealer's club"). Spirited guitar break too.

There are a baker's dozen song choices, this time around. Energetic "Fight For The Right" intertwines classical compositions into the metal, with a straightforward message: believe in the good, because the good will always win. It is the first of five or six in a row that seem aimed at the headlines in Eastern Europe. Interesting since guitarist Andrey Smirnoff is Russian born. "Forever Free" extols the mindset in most western democracies, even going so far as to say, "I see no point to taking this nuclear abuse. What the hell is going on?" A brooding stomp, "Punchline" says, "all the bullshit that you always tell, just a bad joke. Acting like a fool won't make you cool." On a similarly scathing critique of foreign leaders, "Sad Man's Show" decries "a crazy man in his lone world, trying to me tough," but ultimately, he's just a "Two-faced circus clown... wasting all our time". Ouch!

Begun with a scream, "The Betrayer" incorporates modern metal squelches and effects. On one level, it's about a supernatural demon. Or is it metaphorical, for something more tangible? "Heroes Of Freedom" salutes the Allied soldiers on D-Day (1944 invasion of Normandy). Meanwhile "Better Start To Run" warns a rogue leader, "You will face the truth, you liar. A judgment day to come. Out to claim our lost empire..." Russian Roulette, anyone? 

Thumping, mid-paced "The Battle Understood" reassures that fear, anger, scars and losing (battles/loved ones) fosters resentment that can be channeled into opposition. Starting with something akin to a Cowboys-era Pantera guitar riff, "Living Hell" is the lone throwaway. The title track brings this game to a close: the fastest number (new school, video game sounding power metal), utilizing both guitar and (briefly) violin. Not sure European metal audiences will be shouting "Touchdown" any time soon, but the “us against them” symbolism is sure to be a winner.