SABATON

After several albums that explored the conflicts and calamities of the 20th century, SABATON have headed much further back in time for their 11th full-length album. "Legends" eschews the focus and narrow, temporal view of recent efforts in favor of a handful of stories, honoring mercurial figures in the history of righteous war, religious upheaval and rebellion. It is, as you can probably tell, a very SABATON kind of album.

The law of diminishing returns should really be gnawing at the Swedes' heels by now. For all their success and ubiquity in the European metal scene, SABATON have taken plenty of risks along the road to glory, albeit never in terms of their bombastic sound. "Legends" is another such risk, and it is a credit to the band that they pull it off with the same braggadocio and boldness that has typified their finest moments to date. Here we find tales of Julius Caesar, Joan of Arc and Vlad The Impaler, attached to songs that adhere rigidly to the usual power metal bluster but with enough variety and dynamic intrigue to keep thoughtful fans happy. For the rest (and, lest we forget, SABATON have an absolutely huge international fan base),"Legends" will be received with the usual rapture. To a great extent, this is business as usual, and as with both "The War to End All Wars" (2022) and "The Great War" (2019),this record sounds like a million dollars, fulfilling the nebulous brief of an arena metal band in the process.

But what is rarely mentioned in critiques of SABATON is the sheer passion that they throw into every one of their projects, from albums and EPs, to the endless historical research which has fueled them for decades. "Legends" never departs from the expected course, but these songs still bristle with brave ambition. The two singles that have been released in advance — "Templars" and "Hordes of Khan" — are among the strongest that SABATON have ever released; their underlying grit balanced out by the explosive delight that oozes from every sonic pore. Yes, this is familiar territory, but there is no denying that this band continue to make their narrative and musical points forcefully. On the riotous, shiny speed metal of "Maid of Steel", SABATON turn their storytelling into a battering ram. On the dark and dramatic "Impaler", they employ an oppressive, pounding mid-paced approach, replete with ornate guitar solo, sounding more epic and overblown than they have ever done in the past, which is really saying something. On "Lightning at the Gates", which recounts the deeds and trials of legendary Carthaginian general Hannibal, they return to the irresistible, singalong stateliness that has powered some of their most potent hits. In contrast, "The Duelist" pays tribute to the undefeated 16th century Japanese swordsman Miyamoto Musashi with a motoring, classic metal conflagration that brims with urgency and muscle. The goth-tinged, atmospheric "The Cycle of Songs" is arguably the most radical thing here, with AOR keyboard stabs and a mid-'80s JUDAS PRIEST-like swagger, topped with a particularly emotional vocal from Joakim Brodén that showcases his ongoing status as one of power metal's most effective frontmen.

SABATON have carved their own path to glory, and while they show no interest in deviating from it, they still have enough imagination and exuberance to make each album stand apart from its counterparts. "Legends" is the rightful heir to "Heroes" — another career high point — and kicks more than enough chainmail-wearing ass to sustain this band's dominance over the traditional metal realm for a few more years at least.