Heroes changed up Sabaton’s lyrical content by focusing on individuals rather than battles fought by nameless thousands, and The Great War was a surprisingly successful amalgamation of both.
NEW SABATON ALBUM 2019 FULL
Carolus Rex, which was released in both English and Swedish, stepped up the production, filling out both the drum and guitar sounds, and showcased a full on choir which helped those aforementioned ho-hum choruses sound less… Hobbity.
For the possible exception of Heroes (2015), I am doubtful that many fans of the band would disagree with this assessment. Those would be Carolus Rex (2012), and The Great War (2019). Two of these records stand out as Sabaton’s best. These elements are present on all of Sabaton’s previous nine efforts, rarely stopping for a rest on this unintentionally hilarious double decade road trip through Michael Bay’s Pearl Harbor. The ho-hum pub drinking, sing-along choruses that somehow make songs about death and destruction sound like the war horns of Lego Land. The un-inventive, plastic sounding rhythm guitars. The obnoxious, faux-orchestral keyboards.
Here’s hoping.Ĭurrent Sabaton lovers, as well as current Sabaton loathers, are not likely to find anything new to love or loath within the forty-five minutes “The War To End All Wars” attempts to keep ears piqued. Though I can’t say you’ll agree with me by review’s end. The fact that they, and many of their ilk, possess millions of fans world wide, means to me that their work is worthy of discussion, if for no other reason than to remove myself from the blind hatred that so often keeps Metal fans divided. The short answer is an emphatic “fuck no!” But whether I like it or not, Sabaton is a part of the Metal conversation, of which I am grateful to participate on a somewhat regular basis. Still, upon hearing about their upcoming release, “The War to End All Wars,” I found myself wondering if a world existed where I could appreciate Sabaton for what they are instead of hating them for what they are not. Making a sport out of missing the mark, failing miserably at their attempts to be anywhere near as fantastic as Primal Fear or Sanctuary. Joining the likes of Powerwolf, HammerFall, and Rhapsody of Fire in the awesome-cover-art/shitty-music subdivision of heavy music. I have always found Sabaton’s particular brand of cheese to be of the Wal-mart Sandwich Mate variety, complete with individually wrapped plastic slices, processed to the point of tastelessness. Power Metal, as I suggested in a Burning Witches review last year, lives or dies by the quality and proportion of cheese a band chooses to employ. Historically, given the fact that Sabaton hasn’t recorded one song I’ve ever liked, it’s safe to say I am not a fan.
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