BLOODBOUND

Power metal stalwarts for the last 20 years, BLOODBOUND have been making steady progress throughout their career. In recent times, the Swedes have seemed to really hit their stride, particularly after signing deals with AFM and, latterly, with Napalm Records. Two years ago, they released "Tales from the North": an album that retained all of the glossy, hell-for-leather charm from earlier albums, but which somehow sounded purposefully bigger and better than any previous efforts. They may not be one of power metal's most prominent bands, but they were at least starting to act like they had big dreams to pursue. "Field of Swords" has arrived on schedule, two years later, and gives the impression that BLOODBOUND are still determined to shoulder barge a few lesser bands out of the way in their relentless pursuit of glory. Superficially, at least, "Field of Swords" makes all the right noises.

The opening title track says it all about where BLOODBOUND sit on the metal spectrum. Aggressively melodic, very much from the HELLOWEEN / STRATOVARIUS school of overblown grandeur and firmly committed to dropping at least one unstoppable hook into each successive chord sequence, the Swedes are not here to overcomplicate their formula, but their skills have sharpened considerably over the last two decades. Vocalist Patrik Selleby has a powerful voice that cuts through the ongoing storm of precise riffing and thunderous kick drums with ease, and the blend of guitars, keyboards and extraneous pomp is as fully realized as anything this side of SABATON in full flight. "As Empires Fall" makes the same point with even more enthusiasm, pulls off subtle, melodic steals from power metal's past (HELLOWEEN, again!) and snaps between tempos with whiplash-inducing ferocity. Those looking for obvious flaws will leave "Field of Swords" empty-handed: this is proficient and purposeful power metal with all the available trimmings, and BLOODBOUND execute it all with great dynamism.

The only real problem here is that BLOODBOUND reveal all their best ideas within the first few songs. Thereafter, despite the quality rarely dropping, "Field of Swords" is largely indistinguishable from any number of like-minded albums released in 2025. As laudable and impressive as songs like "Defenders of Jerusalem" and "Teutonic Knights" are upon first listen, a total lack of deviations from the songwriting norm means that even the more adventurous arrangements soon blend into one giant, shiny morass of familiar tropes and well-worn cliches. The greatest moments here — the impossibly breezy "Land of the Brave" — are among the finest songs that BLOODBOUND have recorded, but as "Field of Swords" clatters towards its dramatic denouement, surprises and curveballs are conspicuous by their absence. All things considered, this is another strong showing from a band with plenty of energy driving them forward, but connoisseurs of this stuff may find their attention being directed elsewhere, to albums that make more of an effort to stand apart from the crowd. "Field of Swords" is another solid statement but falls slightly short of the unequivocal triumph that BLOODBOUND seemed to be heading towards. Next time, maybe?