Armored Saint today presents their video for ‘Every Man-Any Man‘. The track comes off the band‘s critically-lauded new full-length, ‘Emotion Factory Reset‘, out now on Metal Blade Records. “’Any man has his price’ is a more familiar phrase and that’s the theme, but we didn’t want to call it that,” recalls vocalist John Bush on […]
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In 1995, the Misfits got back together, but it wasn’t really the Misfits. In the time since the theatrical hardcore punk greats broke up in 1983, frontman Glenn Danzig became a metal star with his band Danzig, and countless bands covered the Misfits and/or cited them as a key influence. The Crimson Skull logo was inescapable. So bassist Jerry Only and guitarist Doyle Wolfgang Von Frankenstein put together a new version of the band. They needed a new frontman, and a 19-year-old New Jersey native named Michael Emanuel became known as Michale Graves.
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Accept are marking their 50th anniversary with the release of Teutonic Titans 1976–2026, a career-spanning collection featuring re-recorded classics and an extensive lineup of guest musicians from across the metal world.
Scheduled for release on September 4, 2026 via Napalm Records, the album includes 19 revamped tracks and appearances from 50 guest performers. Led by guitarist Wolf Hoffmann, Accept revisit songs from their classic catalog with a rotating cast of vocalists and musicians joining longtime frontman Mark Tornillo.
Reflecting on the project, Hoffmann said: “There is no better way to celebrate this 50-year anniversary than to have our musical peers, friends, and inspirations come together with us to record these classic Accept songs, which I am honored and proud to share with the world. I hope everyone enjoys this very special record as much as we all enjoyed making it.”
The album revisits material originally released between I’m A Rebel and Eat The Heat, giving each song a different lineup and a fresh interpretation. Among the standout collaborations, Tobias Forge of Ghost appears on “Save Us”, while drummer Ray Luzier joins the performance.
One of the first tracks unveiled is “Fast As A Shark”, featuring Philip Anselmo of Pantera, Kirk Hammett of Metallica, Mikkey Dee of Scorpions, and Billy Sheehan from Mr. Big.
Discussing the recording, Hoffmann explained: “This song was so much fun! We even re-recorded the intro in a Bavarian oompah style… a friend of mine lives in Bavaria, and he was in contact with one of those traditional Bavarian woodwind outfits, and they recorded the traditional German folk song “Ein Heller Und Ein Batzen” for us, which was fantastic. We were lucky to get Phil Anselmo on vocals, Billy Sheehan on bass, and of course Kirk Hammett on guitar, which is amazing, and Mikkey Dee on drums, so that’s a pretty nice supergroup, isn’t it?”
Hammett added about “Fast As A Shark”: “A real honor to pay back the great inspiration Accept had for me!”
Other contributors to Teutonic Titans 1976–2026 include K.K. Downing of Judas Priest, Bobby “Blitz” Ellsworth of Overkill, Hansi Kürsch of Blind Guardian, Chris Jericho of Fozzy, Ralf Scheepers of Primal Fear, Ola Englund of The Haunted, and Jeff Loomis of Nevermore.
The collection also includes a new version of “Hellhammer” performed by the current Accept lineup of Hoffmann, bassist Martin Motnik, guitarist Philip Shouse, and drummer Christopher Williams, alongside Jason McMaster from Dangerous Toys.
Over the course of five decades, Accept have remained one of heavy metal’s most influential acts, with landmark releases such as Balls To The Wall, Restless And Wild and Metal Heart helping shape the genre. Since the arrival of Mark Tornillo in 2009, the band has continued releasing successful albums and maintaining a strong presence on the international metal scene, further extending a legacy that now reaches the half-century mark.
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Cards on the table—this review is late. Really late. We got the promo, but it went unclaimed, and it wasn’t until I picked up Lynx’s Trinity of Suns for personal enjoyment that I listened. Before I finished my first spin, I knew I had to Filter it. And that’s exactly what I did. I sat down to write my 200ish words about Lynx’s sophomore album, and the words spilled out. Too many, actually. I described how every subsequent journey through Trinity of Suns deepens my appreciation for Lynx’s retro rock, and soon I realized I had more to say than a limited word count would allow. Over the last month, Lynx has enraptured me with their sultry siren song, entrenching Trinity of Suns as a mainstay for commutes and chores. Rather than saving it as a Thing You Might Have Missed, though, I dared to write the counter-breaking missive I hoped my betters would permit. I begged. I cajoled. I cashed in the scant favors and political capital I’ve accrued since joining the staff to get this thing published. Was it worth it? If you’re reading these words, you’re damn right it was.
Between releasing 2021’s Watcher of Skies and follow-up Trinity of Suns, Lynx underwent a transformation I can only describe as transcendent. Huck N Roll offered some pointed criticism for their debut, a slab of 70s hard rock worship in the vein of Thin Lizzy and Blue Öyster Cult. Specifically, Huck noted that the songwriting was as unrefined as guitarist Marvin Keifer’s vocal performance, and the wanton surfeit of cymbals debilitated the listening experience. Five years later, Lynx obliterates whatever expectations listeners set based on Watcher of Skies. Most notably, Trinity of Suns introduces Amy Zine as full-time lead vocalist1—a decision that catapults Lynx’s potential into the Skies. Just as importantly, though, Lynx displays more restraint and maturity in their arrangements to wonderful effect.
Though the core of Lynx’s identity remains the same, the band deftly incorporates inspirations to elevate their sound. Rather than relegating the best moments to snappy intros, Trinity of Suns steeps its compositions in throwback, classic rock drama. “Stranger Sign in the Sky” boasts a Rushified break that harkens to “By-Tor and the Snow Dog,” while “Oppressive Season” starts with an intro that could pass for a lost Jimmy Buffet cut before tumbling into a Thin Lizzy tizzy. “Seven Days of Darkness,” meanwhile, melds the majesty of Pink Floyd psychedelia with the soulful intimacy of Tanith’s starkest emotional moments, eliciting a warm, heartfelt fuzz that pairs perfectly with the desert-ready palette Lynx paints with. The resulting thirty-nine minutes simmer with subtle heat, proving how the songwriting has evolved over the last half-decade.
\In addition to more fluid song structures, Lynx unchains stunning performances across Trinity of Suns. Amy Zine’s smoky vocals cut to my core, whether she’s belting out head-bopping choruses (“Island Universe”) or caressing with a tender croon (“Seven Days of Darkness”), and I simply cannot get enough. Still, as fabulous as her contributions are,2 they don’t carry Trinity of Suns alone. Everyone else in Lynx pitches in with guitars, though they’re primarily supplied by Tim Künz and Janni Athanasiadis. In addition to his gorgeous acoustic twangs on “Seven Days of Darkness,” Franz Fesel ably commands drums from the pocket while Phil Helm rumbles with luxurious yet understated bass. Honestly, Lynx’s low-end locks into such powerful grooves that Trinity of Suns would be undermined and underserved with a lesser performance, and if you need any convincing, go listen to the back-to-back tandem of “Oppressive Season” and “Trinity of Suns.”
Lynx is a band that understands the assignment, and Trinity of Suns should be enough to convince anyone that this kitty has claws. My only unfulfilled desire from Trinity of Suns is a three-minute banger nestled after “Voyager” or “Oppressive Season” where the entire band goes hog-fucking-wild. “Oppressive Season” comes closest, though holds back enough to avert the pandemonium I crave. With the talent Lynx brandishes, I’d love to hear them cut completely loose. Otherwise, Trinity of Suns accomplishes everything I want from a band of Lynx’s ilk, and each time “Island Universe” concludes, I’m left even more smitten. Whatever these cats do next, I’ll be there.
Rating: Great!
DR: 9 | Format Reviewed: 320 kbps mp3
Label: Dying Victims Productions
Websites: Bandcamp | Facebook
Releases Worldwide: April 24th, 2026
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Revocation are planning a career-spanning setlist for it.
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