Accept / Paris 2018 / 2CDR  

Accept / Paris 2018 / 2CDR / Shades

Translated text:
Live at L’Elysee-Montmartre, Paris. France 1st February 2018

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About half a year since that wonderful visit to Japan, ACCEPT has made the world spring up with “THE RISE OF CHAOS TOUR”. Their latest and super best live albums are appearing.
It is contained in this work “Paris Performance on February 1, 2018”. Just the other day we had a concert. Such a terrible thing more than the latest feeling odd quality … …. Although it is a position of the show first. Let’s take a bird’s-eye view of the entire tour with the meaning of the recent status report.

· August 3: WACKEN OPEN AIR performance
“August 4” THE RISE OF CHAOS “released”
· September 7th: Beverly Hills performances
· September 10 – 17: Japan / Australia (5 shows)
· September 26 – 30: North America (3 performances)
· November 2 – 27: South America (14 performances)
· January 12 – February 27: Europe # 1 (33 performances) ← ★ Coco ★
· May 5: Brazilian performance
· June 1 – July 28: Europe # 2 (12 performances)
· November 2: Germany performance

This is the schedule which has been published to date. It has been a sporadic schedule since May this year, and it seems that the schedule will get clogged with more and more from now. Last September I came to Japan just after the release of the new work “THE RISE OF CHAOS”, but from the “South America” ​​leg in November last year it became a “full-scale tour” packed with schedule. This performance’s Paris performance was a concert that will be the 15th public performance of Major Baida “Europe # 1” following it.
Such an engine is fully opened! This work that recorded a show, there is nothing wrong with quality! It is an audience recording using the name machine “SP – SPSB – 10”, but it is a super high quality far apart from the sound which is imaged with the so – called “audience” word. Strongness like hitting a bun with a metal bat, metallic luster grinding sound, sharp detail like a barbed wire. Not a sense of distance, all of the guitar / vocal / rhythm corps are brilliant and super direct. The guitar seems to be able to see the waveform of squeaking, and the vocal is a breathing class. For example, in a scene in which a heavy chorus shouts “Restless and wild !!”, it seems that the tongue of “Lulu Olleres”! Gorigori ‘s heavy bass is too close to breaking in super – vivit and it’ s pretty impressive. Rather than “sound board” it is a close contact feeling that my head became a mic or PA itself.
Besides, ACCEPT’s sound itself is a terrible metallic feeling. One sound One sound is flexible while shining strangely, yet clearly it is clear to clear. Although ACCEPT after the resurrection was always Prodised by Andy Snoop, it is rigid enough to think that “Andy is in charge of the tour as well!”?
“Hey, this is where the audience is … … It’s super sound that I want to say”, but it certainly is awesome because there is a taste of the audience. What is wonderful more than anything. A big chorus of the audience. Speaking of ACCEPT ‘s show, not only in Japan, the chant of Metalheads is a point, but it is extensive and hot! Already, it is burning! As it is repeating from the previous time, the performance sound is the strong sound of the steel, even the big choruses are knocked down. However, there is a “live voice” certainly, and in Singa Long you will have a tremendous thickness. This sense of unity is delicious. It is too delicious. There are bands in which audience recording suits bands and bands that do not match, but there are no bands that match customer records as much as ACCEPT about metal. I can not taste this real pleasure with either a sound board or an official work. It is a superalloy catharsis allowed only for the superb ultimate audience recording.

It should originally be divided into “Breaker” which was not played in Japan and “Objection Overruled” which was revived for the first time in 24 years, but it is not very much anew. Ultra-rigid heavy tank sound bursting over the whole story, super hot masterpiece that is extremely hot in the venue is a super masterpiece. I thought that we love Japan’s ACCEPT love not to lose to any country, but Europe is still terrible. Hey this is not an enemy …… It is a live album that is present at such a perfect white flag scene. How to clarify the thing of a thousand words clearly that the present ACCEPT is hot existence now is the heyday. It is a compulsory subject of all metal heads “2018 steel teaching book”!

あの素晴らしき来日公演から約半年、“THE RISE OF CHAOS TOUR”で世界を湧かせているACCEPT。そんな彼らの最新・超極上ライヴアルバムが登場です。


これが現在までに公表されているスケジュール。今年の5月以降は散発的な日程になっており、これからどんどん予定が詰まっていくと思われます。昨年9月の来日は新作『THE RISE OF CHAOS』のリリース直後でしたが、びっしりと日程の詰まった“本格的なツアー”となったのは昨年11月の「南米」レッグから。本作のパリ公演は、それに続く大票田「欧州#1」15公演目となるコンサートでした。
そんなエンジン全開!なショウを記録した本作は、クオリティこそがとんでもない! 名機「SP-SPSB-10」を駆使したオーディエンス録音なのですが、いわゆる「オーディエンス」という言葉でイメージするサウンドとはかけ離れた超ハイクオリティ。金属バットでブン殴るような逞しさ、金属光沢ギラッギラな鳴り、有刺鉄線のように鋭いディテール。距離感なんぞまるでなく、ギター/ヴォーカル/リズム隊のすべてが鮮やかで超ダイレクト。ギターは軋みの波形が目に見えるようですし、ヴォーカルは息づかい級。例えば、重コーラスが「Restless and wild!!」と叫ぶシーンでは、「ル゙ル゙ル゙ェレストレス!」の巻き舌が震えるのまで超クッキリと分かる。ゴリッゴリの重低音も超ビビッドで割れる寸前でギリギリ思い止まるド迫力。「まるでサウンドボード」というよりは、自分の頭がマイクやPAそのものになったような密着感なのです。
「おいおい、これのどこがオーディエンスなんだよ……」と言いたくなる超サウンドなのですが、確かにオーディエンスの旨みもあるから凄い。何よりも素晴らしいのは。観客の大合唱。日本に限らず、ACCEPTのショウと言えばメタルヘッズの唱和がポイントになるわけですが、それがぶ厚く熱い! もう、灼熱!! 先ほどから繰り返しているように演奏音こそが鋼の強靱サウンドであり、大合唱ですらねじ伏せてしまう。しかし、そこには確実に“生の声”があり、シンガロングでは凄まじいぶ厚さを現出するのです。この一体感が美味い。美味すぎる。バンドによってオーディエンス録音が似合うバンドとそうでないバンドがあるものですが、ことメタルに関してACCEPTほど客録が似合いまくるバンドはいない。この醍醐味は、サウンドボードでもオフィシャル作品でも味わえない。超極上なオーディエンス録音だけに許された超合金カタルシスなのです。

本来であれば日本で演奏されなかった「Breaker」や24年ぶりに復活した「Objection Overruled」に字数を割くべきなのですが、とてもそれどころではない。全編にわたって炸裂する超剛金な重戦車サウンド、激アツな会場の熱気が凄まじすぎる超傑作です。我らが日本のACCEPT愛はどの国にも負けないと思っていましたが、やはり本場ヨーロッパは凄い。ちょっとこれは敵いっこない……そんな完全白旗な現場に居合わせるライヴアルバムです。いかに現在のACCEPTが熱い存在なのか、今こそが全盛期ということを千の言葉よりも明確に叩きつける1本。全メタルヘッドの必修科目たる“2018年の鋼鉄教本”です!

Disc 1
1. Intro 2. Die By The Sword 3. Stalingrad 4. Restless And Wild 5. London Leatherboys
6. Breaker 7. The Rise of Chaos 8. Koolaid 9. No Regrets 10. Analog Man
11. Final Journey 12. Shadow Soldiers

Disc 2
1. Wolf Hoffmann Solo 2. Neon Nights 3. Princess of the Dawn 4. Midnight Mover
5. Up to the Limit 6. Objection Overruled 7. Pandemic 8. Fast as a Shark 9. Metal Heart
10. Teutonic Terror 11. Balls to the Wall 12. Bound to Fail

Mark Tornillo – Vocals Wolf Hoffmann – Guitar Uwe Lulis – Guitar
Peter Baltes – Bass Christopher Williams – Drums

Shades 864

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