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!
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