Accept – Predator – 1996


Predator, previously unheard by me at the time of the review, caught my attention due to my exploration of Udo Dirkschneider’s solo project, U.D.O. at the time. As I understand it, this marks Udo Dirkschneider’s final involvement with Accept—a band that has grappled with hiatuses and departures since the late ’80s. It’s the third album from this period together with the original singer. Nevertheless, it’s a compelling album that distinctly embodies the band’s identity.

Accept, once influential in shaping the genre, rightly earns titles like pioneers and trailblazers. Surprisingly, on a couple of tracks, the band’s bassist, Peter Baltes, assumes the vocals, challenging the notion that Accept relies solely on Udo Dirkschneider. While Udo’s unique voice was strongly associated with the band, the album proves its ability to stand on its own.

Musically, Predator navigates the territory between classic Accept’s melodic elements and Udo’s solo project’s rough and audacious style. At times, it may even venture into a realm that is both assertive and bold. This dynamic allows the album to occupy a space that feels both familiar and innovative.

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Tommy Snöberg Söderberg

Autodidact film scholar and music-loving thinker who reads the occasional book.

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