Sabaton's 'The Great War' - Album Review

It is amazing how far Sweden's Sabaton have come in their twenty year career so far. It does not seem all that long ago that I first saw the power metal act at the Hall for Cornwall in Truro supporting DragonForce (the internet tells me it was in November 2009), and the band have been on a steady rise to true stardom since. That show in Truro was my first exposure to the band, but I did not really start listening to them properly until a couple of years later. By the time 2012 rolled around however, I was a big fan. I saw my first Sabaton headline show in the November of that year in Wolverhampton - and I have not looked back. Three more Sabaton shows have followed, and my next is in a few days time at Bloodstock Open Air - where they will headline the main stage on Friday night. This rise from a lowly support act to a festival headliner has only happened however because the band have really put in the effort, honed their songwriting skills, and ensured that their stage show is one of the biggest and best on the circuit. There have been bumps in the road, and a major line-up overhaul in 2012 threatened to really derail their upward momentum, but Sabaton truly deserve their lofty status - which is even greater in mainland Europe than it is here in the UK. Sabaton are known as a great live band, but their shows would not be what they are without great songs to back them up. While the band's first handful of albums are patchy (despite all containing some really strong songs), pretty much everything they have released since 2008's The Art of War has been excellent. I am not sure that the band's recent couple of albums have been quite as well-received by the wider metal community as their mid-period classics however. I am not sure why this is, as I love both 2014's Heroes (which I reviewed here) and 2016's The Last Stand (which I also reviewed here), but the impression I get from reading reviews (both at the time of their respective releases and more recently) that some fans feel there has been something of a drop in quality. I personally do not think that this is the case, and regularly reach for Heroes and The Last Stand, but I do wonder if the fact that all Sabaton's albums basically sound the same has caused fatigue in some fans. I always find it strange that bands like AC/DC and Motörhead are applauded for essentially releasing the same album over and over again - but other bands are not cut the same slack. If it is this fatigue that has caused these more recent mediocre reviews, then these reviewers are going to be disappointed - because the band's ninth album The Great War showcases Sabaton's trademark sound strongly. This pleases me, and probably most of the band's fanbase, greatly; and the new release contains everything that has helped to make the band sound the way that they do. Unsurprisingly The Great War tells tales from the First World War, and the band have given the subject matter the same attention to detail that all their previous war tales have received. As always, there is a lot to learn from listening to the album! It is also the band's first album to feature guitarist Tommy Johansson (Majestica), who joined the band in 2016 before the release of The Last Stand.

Despite the album largely sticking to Sabaton's tried and tested formula, there is something about the opening number The Future of Warfare that sounds fresh and different. The track contains the band's usual power metal bombast, but set against a more industrial-themed background, with cold synths during the verses, and a punchy Nine Inch Nails-esque drum pattern during the fast-paced but methodical choruses. The mechanised sound, which is fitting considering the song's subject matter, really suits the band - and it really helps the album to open out in a way that could well turn heads. Frontman Joakim Brodén's rich, deep vocals are perfectly suited for the chug of the verses; and when the big chorus kicks in the rest of band harmonise with him for a big sound while churning out the machine gun-esque riffing. Both of the band's guitarists get to show off early on too, with Chris Rörland and Johansson each taking a turn to solo - before a final reprise of the barrelling chorus is certain to get the blood pumping. Seven Pillars of Wisdom sees Sabaton back firmly on familiar ground, and is the first of three songs in a row to be co-written by Rörland. A jaunty guitar riff opens the sound out perfectly, before a galloping verse tells the tale of Lawrence of Arabia. When I first listened to the album, this was one of the songs that stood out the most - and it is still a real favourite of mine. Some of the melodies feel quite similar to other Sabaton songs, particularly White Death, but the chorus is packed full of so many epic melodies that it does not seem to matter. It is the album's first true anthem, and will probably end up being one of the best power metal songs of the year. A shredded solo from Rörland is the icing on the cake, and helps to elevate the song further. 82nd All The Way is another favourite of mine, and slows the pace down somewhat to lay down a bass-led chug during the verses; only to explode into a jaunty, synth-heavy chorus that is one of the finest moments on the album. Pär Sundström's pulsing bass playing really dominates the verses, with the guitars often taking a bit of a backseat to allow the keyboards and bass to really shine. Brodén makes the most of not having to compete with the guitars and lays down a melodramatic vocal performance, using his rich voice to tell the story of American solider Alvin York. This could be the album's best song, and is sure to become a live staple over the next few years. The Attack of the Dead Men is another mid-paced song, but focuses more on creating a strong atmosphere than laying down heavy riffs. There are riffs here, but the dominant instrument here often seems to be Brodén's keyboards. He creates a strong soundscape throughout, with spacey melodies and dense walls of sound which perfectly help to sum up the bleak tale the song tells. There are a few heavier moments, such as when the song ramps up to allow Rörland to launch into a melodic solo, but this is a piece that largely expands on the industrial feeling experimented with on the album's opening number.

Devil Dogs ups the pace and ends up sounding like a real old school Sabaton classic. In many ways it sounds like the best songs on the band first couple of albums, with an Accept-esque heavy chug and a grand keyboard backing that adds some sugary melodies where necessary. The band's guitarists constantly churn out powerful riffs, and drummer Hannes van Dahl barely pauses for breath - with much of the song seeing him laying into his double bass drums to help keep the speed up. Sabaton have always been a band that write strong choruses, and this song contains another winner. Again it seems a bit similar to some of their previous choruses, but Brodén's melodies are extremely strong and the overall melodramatic nature of the piece just makes it easy to enjoy for anyone who likes over-the-top power metal. The Red Baron opens with a playful Hammond organ motif that sounds more like something from an old Uriah Heep album, before the band crash in with a fast-paced metal anthem - that retains the Hammond throughout for a great old-school sound. Synths and keyboards are common in Sabaton's music, but Hammond organ use is quite rare. Considering that there is no-one specifically credited for it in the album's sleeve notes, I have to assume that Brodén was responsible for it. If he indeed played the Hammond organ throughout this song, then he is a much better keyboardist than I realised! He even launches into a tinkling organ solo at one point, which recalls the best classic rock albums of the 1970s, before Johansson takes over with a fluid, shredded guitar solo. The Hammond aside, the song is extremely catchy and is another favourite of mine. The pace never really lets up, and a gang-vocal led chorus is a winner that is packed full of melodies that almost fall over each other due to their speed - but everything manages to just about hang together! The album's title track follows, and slows the pace down again and goes for a more epic overall sound, with Brodén's keyboards really dominating and creating a pulsing, melodic backing for the tough metal rhythms that continuously chug along as the song moves forward. The choir is used to great effect here also, with subtle wordless backings used during the verses and dramatic melodies that match the keyboards employed during the choruses. It is probably the grandest song on the album as a result and, although it does not hit the spot as melodically as some of the other numbers due to a lack of big powerful riffs and melodies, it really feels like a centrepiece. The chorus is still pretty memorable, and it is a song that has grown on me over repeated listens.

A Ghost in the Trenches is another grower, and is the only song here co-written by Johansson - who also handles the guitar solo. I am not sure why the song passed me by at first, as it contains plenty of big melodies that are similar to many of the band's classic songs. Sometimes a song just takes a few listens to fully appreciate, but this is now another track that I enjoy a lot. Not that many of the band's songs have been co-written by guitarists, but this one obviously is as it contains lots of little additional guitar leads throughout, and the main riff is a powerful one that opens the song up nicely. It is a fairly speedy song, but when the main guitar solo kicks in the pace slows down somewhat to allow Johansson to lay down a neo-classical run that is extremely effective. The song then ramps back up towards a final reprise of the soaring chorus - and it seems that Johansson's first contribution to Sabaton is a successful one! Fields of Verdun is co-written by the band's former guitarist Thobbe Englund who left the band just before the release of The Last Stand. He has remained on good terms with the band however, and co-wrote this tune with Brodén and Sundström - and also played the guitar solo. It is another old-school sounding Sabaton song, with a fast-paced chorus and a stuttering main riff that really helps to set the tone for the piece. It was the first song from the album to be released, with a music video to accompany it, so I can see this song also find itself a home in the band's setlists. Its high energy and catchy chorus are likely to endear it to the fanbase, and it was certainly a good introduction to the album when it was released earlier in the year. The End of the War to End all Wars is the last proper song here, and is similar to the album's title track in the sense that it goes for a more epic mid-paced sound with strong orchestrals, choirs, and crushing guitar rhythms. It is probably the least-catchy song here, but it makes up for the lack of huge soaring melodies with a grand sound that sounds a little progressive by the band's usual standard. It is not a huge change of sound, but Sabaton have really doubled down on the over-the-top film score sound here, with dancing symphonic melodies mixing well with their trademark tough guitar rhythms. A short guitar solo from Johansson adds a burst of more traditional metal melody, but overall this is a piece that goes all out for grandness and splendour - and more than succeeds. This segues into In Flander's Fields, a version of John McCrae's famous poem sung by the choir and set to a simple musical backing. It is a fairly low-key ending when compared to other Sabaton albums, but it is fitting given the subject matter dealt with throughout. It is a gentle reminder of the human cost of war, and ends the album in a moment of quiet reflection. Overall, The Great War is another strong album from Sabaton that further hones their core sound and contains some real favourites of mine. Sabaton only seem to get bigger with each release, and I am sure that this will be another success for the band, despite some feeling their output has become samey.

The album was released on 19th July 2019 via Nuclear Blast Records. Below is the band's promotional video for Fields of Verdun.