Who hasn't heard "Metal Heart", who hasn't sung "Ball to the Wall" under his breath with a grin, who hasn't played the air guitar in "Princess of the Dawn"? All right, there may be some that haven't but their enlightenment is not a priority right now. What I want to stress on is that Accept during the past years have played a major role in crafting the spine of the steel skelleton of The Beast. And now, after 14 years of "creative vacation", the youngsters, now a bit older are back together, though without the emblematic Udo, and they present us with their brand new an-hour-and-twelve-minute adventure. And the adventure consists in a quest for the answer to the question - can there be Accept without Udo. Before submerging into the subjective, a bit of objectivity: Mark Tornillo has similar manner of singing to Udo, though his voice is a notch or two lower. The guitars are definitely 2010 - thick and juicy, the riff echo the classical Accept of the 80s. So what comes out of that? An ass-kicking great album, that's what! The songs cover a wide spectrum of topics, starting with joyful rock-anthems (Teutonic Terror, Rolling Thunder), going through political (Blood of the Nations, No Shelter, The Abyss), some pure high-voltage anger (Beat the Bastards - not a cover, Bucket Full Of Hate, Locked and Loaded), landing in the metaphysics (Time Machine, New World Comin', Shades of Death), taking a detour in melancholy (Kill the Pain). And that is an album, not a compilation, because the whole theme diversity is combined into a homogeneous product that you can listen to start to finish with horns up, metal grin and frantic air-guitaring. And its biggest advantage - this is not a soulless remake of the classical times, just a brand new album of an old band.