CD Odyssey Disc 1964: Sabaton

There is a special rule in the CD Odyssey that when I go see a band live in concert I can directly select their album, provided it is the album they are touring. That’s what’s happening here. So today it isn’t random, but don’t get used to it. We’ll be back to not knowing where our musical journey takes us in no time.

Also, if you like a bit of live concert review with your studio experience, I’ve provided exactly that following this review. Just keep scrollin’!

Disc 1964 is…Legends

Artist: Sabaton

Year of Release: 2025

What’s up with the Cover? Artwork that depicts the various characters you are going to encounter on the album. Looks like that rascal from the 12^th Dynasty Senusret III is getting centre stage on this one. Not my favourite song on the album but he does have a handsome visage and a resplendent headdress, so it’s an understandable choice.

Other notables you’ll see include Hannibal, Napoleon and Miyamoto Musashi. And others! Collect all your historical favourites here on…Legends!

How I Came To Know It: This was just me buying the latest release from Sabaton – a band I have been following for about seven years now. This is not remotely from the beginning, so I claim no street cred, but I have been making up for lost time.

How It Stacks Up: I have ten Sabaton albums. “Legends” is a good record, but I must reluctantly rank it at #9.

Ratings: 3 stars

Sabaton is one of those bands that I call “ACDC bands”. Not because they sound like ACDC (they don’t) but because like ACDC their songs all sound very similar to one another. If you like the sound, you tend to like their albums and if you don’t then you really need to go find a new interest, because this is their thing, and the lads aren’t for turning.

That thing is a mix of power metal, folk metal, and New Wave of Traditional Heavy Metal (NWOTM – yes, it’s a term, IYKYK), a galloping beat, power chords and the bombastic vocals of frontman Joakim Broden.

Despite 25 years in the bombast game, Broden hasn’t lost a step and his vocals still cut through the fog of war (and on a Sabaton record there is a lot of that) and tells tales of various characters and battles through the course of human history.

I’ve mentioned this on previous reviews but it bears repeating: Sabaton are a band that sings about historical events, almost exclusively of the military variety. Much like their style of music, if this appeals to you, you will tend to view their records favourably and if this does not appeal to you then it is going to be a very long and fitful 45-55 minutes, indeed.

“Legends” is no exception to both the musical and thematic rules of the band, and because I land nicely at that intersection of bias, I had no complaints on that front. In fact, there are a few standouts on the album.

The first of these is “Templars”, a classic full-tilt Sabaton galloper about the Knights Templar that has a first-rate guitar riff hooking your ears. Broden is particularly good here, as the song lends itself to his range well and as usual, makes everything the height of DRAMA. This despite lyrics that are literal to the highest degree (another Sabaton standard). Don’t look for a lot of metaphor on a Sabaton record – they are here to share some history they found interesting, and they’re sticking to the facts, ma’am.

Another winner is “Crossing the Rubicon” about the fateful decision made by Julius Caesar to bring his legions back to Italy and contest for the leadership of Rome. Again, the heavy riffs and the unison singing on the chorus encourage singing along and create a surge of energy. Sabaton captures the dread import of decision like the crossing of the Rubicon and transports those momentous events across time and space so a modern audience can feel the urgency. It ain’t exactly time travel, but it’s a cousin.

My last of three favourites is “Lightning at the Gates” the story of Hannibal surprising the Roman legions by invading Italy across the alps. A bold maneuver that didn’t ultimately win him the war, but an inspiring bit of generalship all the same. Also, this song has one of the better melodic structures on the record, capturing the shifts in elevation, the determined march of an army and even a bit of optimistic whimsy in the guitar solo, as befits such an unorthodox bit of strategy.

So why only ranked 9th? Because apart from these three songs a lot of “Legends” is just not up to the same standard of earlier Sabaton records. When you do the same thing a lot, you walk a thin line to avoid becoming an imitation of yourself, and there are songs on “Legends” that feel a little like they are trying to squeeze water out of a stone. Also, while I don’t expect Shakespearean prose, songs like “I, Emperor” (Napoleon) and “Maid of Steel” (Joan of Arc) land awkwardly in both lyrics and phrasing. “I, Emperor” in particular is a plodder.

But even with a couple of clunkers this is still a Sabaton record, and all the ingredients you like (if you like this sort of thing) are there. While I didn’t get the full rush of some of their truly great records, I still had a good time and unlike most of the stuff they sing about, no one got hurt in the process.

Best tracks: Templars, Crossing the Rubicon, Lightning at the Gates

The Concert: October 8, 2026 at the PNE Forum, Vancouver, BC

This concert was originally scheduled for April but one of the members of the band had a medical issue and the show had to be delayed. I decided to stick it out, and with the companionship of my buddy Spence, I took it in with several thousand other screaming metalheads.

The Venue:

If you haven’t been to the PNE Forum, it is pretty great to see a show. It is essentially a mid-sized hockey rink built in the early thirties with a big central floor for moshing/fist-pumping types with good backs and bleachers on either side for those with backs that are a bit dodgier. No good for moshing, but still plenty of room to pump a fist or two. My companion and I, being of the dodgy-back persuasion, chose this option.

Wings of Steel

The first of two opening acts was Wings of Steel, a traditional heavy metal band that went full in for the eighties metal vibe. The line between homage and imitation in this genre can be admittedly fuzzy, so I’ll just say Wings of Steel did not offer anything new. The singer had good vocals and the songs were well structured, if a bit obvious. The guitar player played fast, but his solos felt disconnected from the song. It wasn’t to my taste, but I will say that on aggregate, these five guys had the BEST metal hair I have seen in many a decade.

Pop Evil

The second opener was Pop Evil, which was a very different kind of metal entirely. More thrashy/nu-metal crossover with a bit of nineties alternative mixed in there. These guys had good thump, but this isn’t a style that I personally find enjoyable, and I admit I started to get fidgety in anticipation of the main act.

Sabaton

At last, the band we’d been waiting for took the stage. I turned with breathless excitement to my friend and warned him that I might “fanboy out a bit”. This did happen.

First of all, Sabaton have a great stage setup. As you can see from the photo, it features a full-scale model of a First World War tank that the drummer perches on. There’s also a model piece of artillery to the side. With such initial promise, would this show feature explosions and smoke? Reader, it did, and plenty of it.

The band played tight and energetically and had a very knowledgeable and willing crowd eating out of their hands throughout the show. We sang along, we pumped our fists on demand and joyously participated as Sabaton rocked out.

The band has been doing this for a couple of decades now and their resulting mastery of the stage was on full display. They played off each other (often kidding each other with sight gags during songs and self-deprecating banter between them). Broden is a natural showman and brings levity and excitement to songs that are sometimes about heavy topics.

Unison singing is a big part of many Sabaton songs, and everyone brought their A game. There was even a trio of sexy (and talented) backup singers lending some higher range to the tunes.

In terms of setlist, I got almost everything I wanted, with two of my three favourites from “Legends” (see above) being played. Sadly, they also played, “I, Emperor” but even though I still didn’t like this song, it was markedly better live.

Other standouts for me included rousing renditions of “Bismarck”, “Fields of Verdun”, and “Night Witches”. The only one I really wanted to hear that didn’t make the setlist was “Winged Hussars” but hey, you can’t have everything.

Weirdly, there was no encore but that was OK with the show naturally wrapping up with a crescendo of bangers and a very theatrical series of bows (the band, Broden alone, the band with the backup singers, etc.) followed by the very welcome tossing of drumsticks, guitar picks and even the setlist sheet into the crowd.

I am always a little leery of stadium shows with “older” bands, but there were no concerns here with either sound quality or energy levels, and it was a rollicking, fist-pumping good time. Well worth the trip.

CD Odyssey Disc 1950: Sabaton

Welcome back to the CD Odyssey where we have had a month of reviews without metal, but that dismaying trend ends here.

Disc 1950 is…Attero Dominatus

Artist: Sabaton

Year of Release: 2006

What’s up with the Cover? “Hey, mister - looking for a gate to a fantastical alternate dimension?”

“Um…I’ll take the next one thanks. This one looks dangerous and frankly, the entryway is a bit pokey.”

How I Came To Know It: I’ve been a late-blooming but ardent Sabaton fan since 2019. This album was just me digging ferociously through their back catalogue.

How It Stacks Up: I now have ten Sabaton albums. I like them all, and “Attero Dominatus” is better than most – I rank it at #3.

Ratings: 4 stars

Behold the majesty and the ferocity of Sabaton, masters of Battle Metal!

Although there are many sub-genres of metal “Battle Metal” is not one of them, but if it were, Sabaton would be its patron saint. This Swedish power metal band like powerful riffs, crashing drums, bombastic vocals and tying it all together, lyrics about history and battles. A lot.

If you can get over that, you won’t like this record. Sabaton’s obsession with historical events (particularly events involving armed conflict) is intrinsic to who they are as a band. If you are listening through gritted teeth hoping for some other topic to arise, you’re just hurting yourself.

If stories about battles are OK with you, then “Attero Dominatus” is some of Sabaton’s best work, and well worth your time. Only their second record, they are already well established in their sound, with every song thundering down on you like an anthem. It is my favourite record featuring the original twin lead guitars of Oskar Montelius and Rikard Sunden and drummer Daniel Mullback (all of whom left after 2012). Like Sabaton’s neutral stance to history, I like both the original and later lineups.

Some power metal bands are obsessed with playing fast and technical. Sabaton are incredibly polished and tight, but they have a thump that is the envy of their peers. A big part of this is the vocals of Joakim Broden. His voice is low and powerful, eschewing head-voice contortions for a big booming vocal that lends gravitas to lyrics that, in lesser hands, could come off stilted and overly literal.

This album also consistently delivers some the finest guitar riffs in Sabaton’s impressive catalogue. Even the songs I liked slightly less still featured killer fist-pumping guitar bits.

Sabaton don't shy away from any conflict, but World War Two is an oft-visited theme.  "Rise of Evil” is particularly grim as it recounts the story of the rise of Nazism in thirties Germany. Choosing a more ponderous tempo than many other songs on the record, there is a deliberateness to the song, fed by Mullback’s heavy drum hits and a double guitar riff. It evokes an army on the move, a society in upheaval, and a descent into darkness. It is intentionally discomfiting and the track’s title frames the moment for what it was – the rise of evil.

Fortunately, the album’s title track provides a welcome thematic bookend to “Rise of Evil”, as it tells of the last days of Nazi reign as Berlin falls.  Here, Mullback’s drumming switches from deliberate thump to a fast-paced and front-end loaded roll, providing a sense of urgency as the long and violent conflict finally finds an end.

This being only the second record from Sabaton, they are not 100% converted to historical songs. The record’s final track, “Metal Crue” is a lighthearted celebration of heavy metal bands. The lyrics work overtime to include reference to a long list of metal band names that came before (I think there are about 20 dropped names in just 3:45 of running time). Technically this is a sort of history of metal, so maybe the boys stay on theme after all. Not the record’s best song by any stretch, and admittedly a bit silly, but also quite a lot of fun.

My copy of “Attero Dominatus” is the “re-armed” release, which has five bonus tracks, most of which I was glad to have. The highlight is a cover of Warlock’s “Fur Immer” which is majestic and masterful (and has me wanting to check out vintage Warlock records as well). The other bonus content isn’t as good, but good enough to not wreck the original record’s energy.

Overall, this is easily my favourite of Sabaton’s early work, and stands equal alongside some of my perennial favourites released later in their career. If you are a fan of Battle Metal, then this record is a must have. If you aren’t, congratulations on getting to the end of the review, but here your journey is likely to end.

Best tracks: Attero Dominatus, Rise of Evil, In the Name of God, Back in Control

CD Odyssey Disc 1875: Sabaton

I’m a bit knackered tonight, so it is a good thing my next album is a shot in the arm of good ole power metal!

Disc 1875 is… Metalizer (with bonus content Fist for Fight)

Artist: Sabaton

Year of Release: 2007 (although originally recorded in 2002)

What’s up with the Cover? This mechanical monstrosity has everything you could ask for.

Glow in the dark eyes? Check!

A helmet decorated with bullets? Check!

Can we surround the whole thing with human bones? You be we can!

How I Came To Know It: This was me digging backwards through Sabaton’s earlier records after I discovered them relatively late.

How It Stacks Up: At every Sabaton review it feels like I have recently added yet another record. While I don’t yet have Sabaton’s 2025 release, I am now up to nine total. Of those nine, “Metalizer” comes in at #7.

This reissue of Metalizer comes with a bonus CD of 2001 demos called “Fist for Fight” which has a lot of the same tracks (with different production) and a couple of extras. Given the overarching similarities, I am reviewing them as a single entity.

Ratings: 3 stars

Believe it or not there was a time when Swedish power metal band sang about something other than battles. Yes, hard to believe, I know, but everyone’s favourite heavy historians once made songs about other stuff.

That time was the early oughts, they recorded first “Fist for Fight” in 2001 and “Metalizer” in 2002. According to Wikipedia (which as we know, is never wrong) a bunch of copyright stuff denied us access to both until 2007. As a late adopter of Sabaton this did not affect me one whit, but was probably deeply frustrating for the band.

If back in the day I had known there was a record like “Metalizer” gathering dust on some shelf for five years I would’ve been frustrated as well, because this record is awesome on many levels.

It is a glimpse into the early influences and approach of Sabaton. They were already an amazing band – tight and loaded with oomph – and these early works are great to watch them explore their sound and subject matter.

A title like “Metalizer” may feel a bit on the nose, and while that’s true, you won’t mind so much after you listen to it. Sabaton embraces the concept of metal on this record like it’s a religion. The title track is about how much fun it is to enjoy heavy metal and that’s about it. Metal is all that they need, and they want you to know it.

The lads wear their love for Judas Priest on their sleeves, with lyrics like “While hell bends for leather we stand strong”. The last song on the original record (not counting covers) is “Masters of the World” which owes a lot to Judas Priest anthems “Take on the World” and “United” but is glorious in its own right, and a worthy entry in the canon of songs that celebrate the brotherhood (and sisterhood) of heavy metal music.

This re-issue of “Metalizer” even features a bonus track of the band covering Priest’s “Jawbreaker” which is worthy homage.

My favourite song on the record is “Shadows” which is the story of the nine Nazgul in Lord of the Rings. The song has the furious guitar riffs that Sabaton excel at. It is filled with dire portents and a doom that doesn’t creep toward you so much as gallop. Want to know in your bones what it is like to be Frodo pursued across a plain by a Black Rider? This song is a good approximation.

Sometimes on this record it is hard to know if Sabaton might be taking the piss, however. Since “7734” featured a number and a whole lot of heroic exaltation and I was sure it must feature a battle. However, I came up empty on this one, and all the internet could offer is that 7734 spells “hell” upside down on a calculator. Part of me hopes there is more to this song, and part of me doesn’t.

What makes every song work – from the heartfelt to the hokey – is the vocal prowess of frontman Joakim Broden. Broden doesn’t artfully growl like Amon Amarth’s Johan Hegg, and he doesn’t soar the high notes like Iron Maiden’s Bruce Dickinson. Nonetheless, Broden has a weapon just as powerful – he’s got bombast. You can’t teach the unfathomable depths of bombast in Broden’s voice. It just is. He is like the Lord Humongous himself before the gates of the last oil refinery in the outback; he just knows he’s the biggest and the baddest, and his thunderous chest voice announces that fact in every song.

The rest of the band is up to Broden’s challenge, and together these guys know how to make everything sound important. The guitar riffs are timeless, the drums are furious and the whole effect lifts your ass out of your seat.

As an early effort “Metalizer” is a bit raw around the edges, and some of the songs have some eye-rolling lyrics but Sabaton is all in. It’s not as consistently great as some of their later records, but it has plenty to recommend it.

Best tracks: Thundergods, Metalizer, Shadows, 7734, Masters of the World

P.S.: A quick note from “Fist for Fight” which has a lighter production touch (being mostly demos) but also features the inspired “The Hammer Has Fallen” which shows a softer, symphonic sound and despite being buried on a demo collection, is one of my all-time favourite Sabaton songs.

CD Odyssey Disc 1500: Sabaton

This next review has bonus content! Yes, you read that right, lucky readers! In addition to a regular album review, I’m also reviewing my first ever “single” purchased digitally, by the same band as a handy add-on.

I did roll the main album randomly, but not the add-on, which I am including under the rarely used Rule #5.

Disc 1500 is…. Coat of Arms (plus bonus content of the single “Bismark”)

Artist: Sabaton

Year of Release: 2010 (Coat of Arms), 2019 (Bismark)

What’s up with the Cover? Say one thing about Sabaton, they love a dramatic album cover. This one is (fittingly) a coat of arms. Here we have an eagle d'or displayed, wings elevated. That’s the fancy heraldry talk for it anyway.

How I Came To Know It: This is a relatively early album from Sabaton but it is new to me, as I have been digging through their back catalogue from most recent back. I would have bought this one within the last six months or so, likely through Amazon (ugh) because I couldn’t order it through my local record shop or Bandcamp. Sabaton does let you purchase through Bandcamp, but only digitally.

My first encounter with Sabaton was the song “Bismark” which I am reviewing today as well.

How It Stacks Up: I now have eight Sabaton albums and I’m on the lookout for one more to round out my collection. Of the eight I do have, “Coat of Arms” comes in sixth place. “Bismark” does not stack up as it is only a single. It is here for your additional interest and enjoyment.

Ratings: 3 stars

“Coat of Arms” is Sabaton’s fifth major release, but their first to chart (albeit barely) outside of Sabaton’s native Sweden, introducing multiple other European countries to their majesty and might.

Majesty and might is what you’ll get on this record, and a hefty dose of both. Sabaton is all about soaring anthemic metal tunes, with simple but well played riffs and the heavy thump of European power metal at its finest.

This stuff is not for everyone. If you are more of a floor starer, or couch sitter when you listen to your metal, you will be disappointed. But if you like to get excited, pump your fist, and sing along then this is very likely to be in your wheelhouse. These tunes are loaded with power chords played with gusto and front man Joakim Broden’s big and booming voice lifting you up like a soccer chant.

One again we have Sabaton’s preoccupation with stories of warfare on full display. At this stage of their career they are all in on battle tunes. If you like to hear songs about battles, you’ll get plenty here, with 9 of 10 tracks about exactly that. “Coat of Arms” takes the theme one step further, where all nine of those songs are about events from one war (World War Two). I’ll mention just a few of my favourites (songs, not events).

Sabaton often feels most inspired when telling of noble efforts where one side is overwhelmed but stands tall in often tragic circumstances. “Uprising” is about the Polish uprising in 1944 in Warsaw, crushed by the German army after Russian troops refused to advance to their aid. The heavy thud of the song gives it an air of inexorability while also capturing the unquenchable spirit of Poles who fought against such steep odds.

Another favourite is “Aces in Exile” the story about all the airmen from conquered countries (including the aforementioned Poland) flying in the Battle of Britain against the German Luftwaffe. The soaring quality had me thinking favourably of Iron Maiden’s similarly themed “Aces High”. “Aces High” is the better song, and Broden does not have the chops of Bruce Dickinson, but “Aces in Exile” is still a glorious tribute to a group of men who had lost everything, but still found a way to fight on against tyranny.

I was a bit disappointed in “Midway”, partly because it is there are so many intriguing tales of individual heroism and twists of fortune in the battle. It was made for song, but while the guitar riffs are as solid as ever, it falls victim to Sabaton’s Achilles’ heel: literalism.

These guys love military history, but it sometimes feels like an A&E biography, rather than an artistic representation. They like to tell a story from a “just the facts, ma’am” approach. As a result on “Midway” you get hackneyed lyrics like:

“Send them over the waves
Our sentinels
They report in the news
Position of our foes.

“The battlefield’s been chosen tactically in advance
Time to alert our fighters
We’re soon in range.”

Yeesh. I love this band, but that is terrible.

The final song, “Metal Ripper” is surprisingly not about war at all. It is Sabaton’s (distantly) second favourite theme: heavy metal music and how fucking great it is. The song is a glorious riff fest, festooned with references to a rogue’s gallery of seminal metal songs by other bands. You’ve got the bell tolling, highways to hell, blood on your face (you big disgrace) and a bunch more that I don’t have time to mention and/or didn’t catch. It is a love letter to Sabaton’s musical heroes and influences. It is a bit hokey, but I loved every minute of it and the song is an undeniable earworm.

My remastered copy of the record also includes instrumental versions of both “Coat of Arms” and “Metal Ripper.” I’m not sure why anyone would want that as bonus material. I did not.

That said, I had a great time listening the original 10 tracks. Sabaton have their faults, but they are very happy to wear them on their sleeve for all to see. They like big anthems, big riffs and the mixed heroism and tragedy of war. It isn’t something most people want a full record of, but if you happen to like them, you like them a lot.

Bonus Content: ‘Bismarck’ the single

I think "what's up with the cover" is obvious here, so let's move on to the song, shall we?

Given all these World War Two songs, it seemed the right time to throw in this track. My first ever digital album download was Jens Lekman and Annika Norlin’s “Correspondence” and "Bismarck" was my first ever digital download of a single. For whatever reason, it’s been Swedish musicians inspiring me to try new things.

I’ve always had a fascination with naval warfare (see “Midway” above) and as a boy the story of the Bismarck always filled me with awe from the first day I was introduced to it (via “Sink The Bismarck” by country singer Johnny Horton).

For years (and on limited resources) I tried to buy all the models I’d need to recreate the encounter between the Bismarck and the Hood but after many years I only ever had the Bismarck and the Prince of Wales (no Prinz Eugen, and no Hood). I even ended up painting the Bismarck with the hull markings of her sister ship, the Tirpitz, by mistake. D’oh!

Anyway, Sabaton does a good job of capturing the awe and power of the Bismarck. Johnny Horton’s song tells the story better, but I’ll give Sabaton the edge for the riff which is full of bombastic awesomeness.

Best tracks: Coat of Arms, Uprising, The Final Solution, Aces in Exile, Metal Ripper and of course…Bismarck!

CD Odyssey Disc 1447: Sabaton

The dice gods have seen fit to reward me with my second straight foray into heavy metal. Yeehaw!

Disc 1447 is…. The Art of War

Artist: Sabaton

Year of Release: 2008

What’s up with the Cover?  This cover should come with a label: “Warning: sharp edges.” All manner of pokey bits protrude from around a helmet with a very uncomfortable looking faceguard.

How I Came To Know It: I fell hard for Sabaton when I checked out their First World War themed album, “The Great War” in 2019. Since then I have voraciously dug into their back catalogue.

How It Stacks Up: I have seven Sabaton albums and I’m currently on the lookout for two more. Of the seven that I have, I put “The Art of War” in at #5.

Ratings: 3 stars

Sabaton is a power metal band from Sweden that likes writing songs about war…a lot. With the exception of some very early releases that is pretty much all they sing about. “The Art of War” is a relatively early record for them, but as you can guess from the title, not so early they haven’t entered their “total war” phase. If you don’t like songs about military history, this record is not for you.

If you do, then you’ll be glad to know that Sabaton is amazing at writing songs about battles. They aren’t warmongers, and the songs have a strong focus on the senselessness of war, and the individual heroism of those who have to suffer through it. Think of their approach as midway between the interest of a military historian and the wide-eyed wonder of a 10-year-old.

The music has a galloping urgency to it, driven by Daniel Mullback’s killer drumming. Daniel Myhr’s keyboards add an element of drama and theatricality, and the double guitars provide every song with a simple but compelling power riff.

Joakim Broden’s vocals are big and bold, inviting you to sing along with every chorus. Every word is filled with majesty and drama as he sends you back in time with lyrics that are very specific. There is not a lot in the way of metaphor and imagery – for Sabaton war stories are dramatic enough on their own.

As for topics, these guys go in for a lot of World War Two stuff. “Art of War” they cover such memorable topics as the German blitzkrieg into France (“Ghost Division”), the Winter War between Finland and the U.S.S.R. (“Talvisota”), the Poles desperate defence of their homeland (“40:1”), the Battle of Kursk (“Panzerkampf”) and the battle of Monte Cassino in Italy (“Union (Slopes of St. Benedict)”. Later on they tag on a general piece on carpet bombing (“Firestorm”).

In telling these tales, Sabaton employ an equal-opportunity narrative, with the songs being told from the perspective of Germans, Poles, Finns, Russians and Americans.

They also cover World War One, and the best of these is “Cliffs of Gallipoli” which has a more complicated arrangement and melody than most Sabaton songs (usually, they jump pretty quick from galloping guitars to sing-a-long chorus). “Cliffs of Gallipoli” is no “The Band Played Waltzing Matilda” but Sabaton still do a strong job of highlighting the horror and pointlessness of that failed campaign.

“The Art of War” gets its name from Sun Tzu’s famous book on how to wage war. That’s a cool thematic device, but Sabaton takes it once step too far, having a bunch of 30 to 60 second interludes of a woman quoting from the book. Sometimes these are their own tracks, and sometimes they are tagged onto a song, but they are universally annoying.

My copy of the album is also a re-issue, and has a few extra tracks, including a song about Vikings (“Swedish Pagans”) a demo version of the title track, and a live version of the Swedish national anthem. These songs added very little to my enjoyment of the record, serving chiefly to push it to a bloated 17 track, 64-minute beast.

Despite these frustrations, there is no denying the infectious music Sabaton delivers. Like ACDC, their songs may all sound similar, but they are all good. I had this album in the car for a full week (a function of giving it multiple listens and it being so damned long) and I enjoyed it every time. I even started singing along as the songs became more familiar. I hope onde day to do the same at one of their live shows, when this damned pandemic ends.

Best tracks: Ghost Division, Unbreakable, Cliffs of Gallipoli, Panzerkampf