Symphonic Metal: Apocalyptica Release New Single Featuring Joakim Broden

Cello-centered symphonic metallers Apocalyptica have been closely collaborating with Swedish heavyweights Sabaton since last year, when they released their own single version of the Sabaton song ‘Fields of Verdun’.

Since then, the two have toured together, as well as released another collaboration in the track ‘Angels Calling’.

Continuing this trend, the band has released a new original song featuring the talents of iconic frontman Joakim Broden, called ‘Live or Die’.

Killer chorus, right?

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Sabaton – The Great War Review

Score8.5/10
GenreHeavy/Power Metal
CountrySweden
Runtime38:27
Release Date19 July 2019
Record LabelNuclear Blast

The time has finally come for Sabaton to unleash their ninth record: The Great War. Despite a lengthy career of two decades, the Swedish metal heroes are showing no sign of slowing down, and they prove that they’re here to stay by delivering their biggest, boldest, most bombastic blast of metal in years. Other than slamming the epic pedal to the fucking floor, The Great War separates itself from Sabaton’s prior works by hanging a darker atmosphere over the music, as well as putting more emphasis on classical scales, especially in its guitar solos.

That being said, it is still very much a Sabaton album; it’s commercially-viable, catchy, thumping heavy metal. There’s definitely a progression from previous albums, but the songs all either reuse (or are combinations of) the same structure, chord progressions, scales, tunes, or licks present in previous albums to maintain their trademark sound. While most of the songs on the album still manage to stand out as notably fucking awesome, tracks like ‘Devil Dogs’ and ’82nd All the Way’, are almost distractingly derivative of older material.

But, as I said, the rest of the album has some absolute gems. It begins with the ominous chorus of ‘The Future of Warfare’ before pounding out into some of the best drumwork in Sabaton history (I mean both in the song and the entire album. Seriously. Hannes Van Dal has no fucking chill and it really pays off). The two most experimental songs are probably ‘The Attack of the Dead Men’ and ‘The End of the War to End All Wars’, which erupts into the record’s ultra-epic, operatic climax before closing with a beautiful rendition of ‘In Flanders Fields’.

As far as my own personal favourite goes, I have to give it to ‘A Ghost in the Trenches’. It’s a steady, blood-boiling onslaught of energy, and the extra bars of 3 at the end of the verses is a really cool touch. Other top contenders (other than the entirety of the album) are ‘Seven Pillars of Wisdom’ and the aforementioned ‘The Attack of the Dead Men’; they play a bit more outside of the box and offer a bit more than your typical Sabaton experience.

Complete with a salvo of headbangable tunes and Joakim Broden‘s iconic vocals, The Great War is everything I wanted and more. It easily stands with Carolus Rex as the band’s best. The only reason I don’t score this album a ten (for myself, it is a ten) is because of the lack of originality in places. It’s not like anybody expects or even wants much originality from Sabaton, but it brings the score down nonetheless. Regardless, be wary when giving this record a spin, because you won’t want to turn it off.

Originally written for The Metal Observer

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Interview With Sabaton’s Joakim Broden

Originally written for The Metal Observer

“[M]e losing my voice after three songs, giving the guys lyric sheets, and Tommy and Chris taking over and singing the show. . . So, fucking proud to play with guys who can handle a thing like that and still get the vibe for a Sabaton show.”

With less than a month to go before the hotly-anticipated ninth studio album from Swedish metal icons Sabaton, I was fortunate enough to have the opportunity to interview Joakim Brodén, the frontman whose powerful vocals are as iconic as the band itself, to discuss the band’s upcoming North American tour, The Great War, and just to pick his brain a bit.

Kane: Hello Joakim! How are you doing today?

Joakim Brodén: Hello! I’m great. How are you?

I’m very well, thanks. I’m psyched to be able to talk with you. I’m a huge fan, obviously, but who isn’t these days?

J: [laughs] Well, I wish even more people liked us!

So this has been an eventful year for Sabaton. You’ve launched Sabaton History Channel, The Great War is almost out, you’re in the midst of festival season. Have you had any free time to yourself?

J: Not really! You know, maybe an hour here or a day there, but that’s about it. Having time off, one day is really nice and during the second day, halfway though it I’m really bored. I don’t know what to do.

You’re obviously committed to the lifestyle, then.

J: Absolutely. I love it.

Do you feel that you’re still growing as a musician?

J: Yeah! I mean, I’m lucky. I never planned to be a singer, and I started singing when I came into the band, so [laughs] it’s a lucky chance. You know, like, I’m also in that golden position where I don’t really sing extremely high. I go pretty high in a breast voice/full range voice point of view but I’m not going to have to worry about getting old and losing my falsetto.

Absolutely. You know, twenty years is a long time to spend on the scene. How have you seen the metal scene change since you started Sabaton?

J: Oh, it’s getting better these days, I’d say. Metal is getting bigger in general, more acceptance, I guess, and also I think that the last couple five or six years have been really good. All of a sudden we see lots of newer, younger bands coming up, which is sort of, yeah, I really love it actually. Because from our time there aren’t that many, you know. Most of the metal bands that came out were either before us, and then only a few around the same time as we, but now it seems to be exploding, which is really nice, I think.

It seems like new quality bands spring up kind of every year now, which is great to see.

J: Yes.

Now, I don’t want to beat you over the head with questions you’ve answered a million times but, of course, I have to ask you about the new album, so what do you think separates The Great War from other Sabaton albums?

J: Well, I can’t say “war” because almost all of them are about war. However, I don’t know. It’s very much a Sabaton album and by that means it sounds like every Sabaton album. But, you know, there is some sense of evolution from previous albums. We always had that. We never made huge steps, you know, between one album to the next, really. If you listen to, well, Heroes and then after that The Last Stand, which would be the two previous ones, you can hear some differences but it’s not gonna be a huge step. However, if you listen to, well, The Great War now and listen to the Metalizer album that we recorded in 2001 or 2002, there’s a huge difference. [laughs] So, um, yeah, a bit darker, a bit more atmospherical, I guess, this one, considering the topic of the album.

Yeah, I’ve definitely noticed that, compared to The Last Stand especially, where it was a lot more victorious and heroic, the overall mood in The Great War seems to be a bit darker and almost dooming.

J: Oh, yeah, in a sense it’s natural. I mean, it’s not like we planned for it. When we go into songwriting mode, I guess, we don’t ever plan, “let’s go harder”, “let’s go more cheerful”, “let’s go darker”, “let’s go softer”, you know, or faster or slower. It’s all about, well, two things, really. Writing as good a song as we possibly can, and making sure the music connects with the stories in as good a way as possible for us. So, with having the Great War in mind when writing the music it obviously affected the songwriting.

Right. Do you have any interesting stories from when you were recording the album?

J: Oh, well, there’s so many [laughs]. Nothing fantastic because, I mean, it was kind of difficult to write it. You know, every album you make it becomes harder and harder. How do you keep the band’s identity, you know, how do you keep it sounding like a Sabaton album, and at the same time progress? Or, develop in some way, at least? And, I do that and a lot of fans do that all the time. When you hear a new album, you compare it to not only to one or the other album, but a whole Greatest Hits of the that band’s previous releases. So, the songwriting was really tough on this one, because, basically, performance anxiety, but also the topic itself. It’s not a nice place to be, to be researching the Great War constantly. Obviously, when you’re doing something like Heroes or The Last Stand, it’s still of military conflict and people are dying, but you’re looking for something to celebrate, only by choice of topic. However, here, yeah, it’s a bit darker. But the studio recording itself was so smooth and fast it’s. . . I’m gonna give you a pretty boring answer. It’s pretty uneventful! [laughs]

I understand that the whole band was more involved in the making of this album compared to previous ones. Did that make the writing process easier or harder?

J: Easier, absolutely. Up until 2010, no, up until Carolus Rex, actually, I was the only songwriter who wrote Sabaton songs. Not by choice, but now, finally, we have some other guys in the band who are used to writing music and are actually quite good at it. It’s a really nice feeling.

Was every song in The Great War written specifically for the album or was there some old stuff that you brought up and refined and released?

J: Well, I always have old stuff lying around. If the song was ever not good enough, it will never good enough, so that gets basically deleted from the possibility pile. However, there’s always a few songs that I didn’t finish before. I’d rather not finish a song than completing it and having it not reach it’s potential or my potential in my mind, at least. So there were one of those, actually; the song ‘Attack of the Dead Men’ was started by me and Chris back in 2013 for the Heroes album. We just couldn’t get that prechorus right at all so we halted it. We revisited it again for The Last Stand, and we couldn’t finish it, so we revisited it again now, and, oh!, we finally managed to finish it. Then we had the song ‘A Ghost in the Trenches’ which was written with Tommy. That was way before the album, or before we entered songwriting mode, anyway. We started that in late 2017/early 2018. Tommy had been in the band for a while and, even though we knew he could write songs, we didn’t know if him and I could write songs together or if we could get something sounding Sabaton out of it. And, it turns out, we could! [laughs] So that one was written also in advance. Other than that, they’re all pretty much custom composed for the topic at hand.

It’s funny you mention those two tracks because those are both my favourites from the album. I notice they’re a little more unique for a Sabaton album. I mean, they still sound completely Sabaton but they’re more unique than maybe ’82nd All the Way’ or ‘Devil Dogs’.

J: Yeah, especially ‘Attack of the Dead Men’ is pretty damn different.

So, shifting gears a little bit, how is festival season going for you guys so far?

J: Pretty good. We had to do an extra fill in in Hellfest, which we weren’t supposed to play at, but I lost my voice and we had the guitarists singing. Other than that, it’s fine.

I would definitely think that’s one of the lower points, but any highlights?

J: Highlights. . . I would say, that one was a highlight, in a way. See, me losing my voice after three songs, giving the guys lyric sheets, and Tommy and Chris taking over and singing the show and me joining in the party whenever I could, so, fucking proud to play with guys who can handle a thing like that and still get the vibe for a Sabaton show. So yeah, I would say, at the same time it was a low point but also a high point. And, I mean, we played Graspop two days ago. Absolutely amazing festival.

It’s a good thing Tommy has those power metal chops!

J: Yes!

Will you have a lot of downtime before your North American tour this Fall?

J: A bit, actually. I know it’s not full now but it will be, anyway. September isn’t that busy yet but, if I know my dear friend and colleague Par, correctly, slowly but surely it’ll fill up. That’s usually how it goes: “Ok, let’s save some time here so we get that time off” and then that’s the time when you have to do all of the other things that you don’t have time to do when you’re touring, so [laughs] you end up going at it anyway!

I’m sure many of us in North America are wondering, is there anything you specifically like or dislike about touring here?

J: Well, I like it a lot, actually! I can’t explain why, but all the places to go on a tour, you know, they’re all different, but it’s mainly Europe and North America that you do nightliner touring. South America you fly to the shows, Russia it’s usually flights or trains, Australia, you fly. [laughs] And I like the whole nightliner thing, it’s always nice to wake up in a new city. You have your bed, which is in the bus, you install whatever, phone charger or small video game screen, whatever you want in there and then you just roll and do heavy metal shows. I really love that. And it’s been a while now since we were on a proper nightline headlining tour so I’m really looking forward to it.

Do you find that the atmosphere is different because you’re not playing arenas or festivals but more one thousand- to a couple thousand-capacity club-sized venues?

J: That helps a lot. I mean, I love that feeling because I’m a bit of a thief. I steal all of my energy from the crowd [laughs] and the further away the crowd is the harder it becomes and it almost feels like I’m playing theater. I mean, I love putting on the big shows and it’s fucking cool, however, it’s harder to keep the energy going, in a way, than if you’re playing up to three, four thousand, which would be the maximum that you can still keep the audience close and you can see people’s faces, all the way to the back.

Yeah, I remember seeing you guys in 2017 in Vancouver and there seemed to be absolutely no shortage of energy from you guys so I’m glad that you have that same commitment to the smaller venues as you do in Europe.

J: Oh, of course! A good rock and roll show can be done on both small and large stages. It’s not about the amount of people there, it’s rather the quality of the people there, both the people on the stage and in the crowd.

I couldn’t agree more. Do you have any favourite cities to visit?

J: Well. . . yeah, several. I like the Northwest a lot, at certain points it feels like home almost. I like the great hiking opportunities, for example, people are really nice, and, yeah, the nature. So from that point of view, I like it. I can’t say I dislike any other place. People have been saying stuff like, “oh, you have a show in this and this place. That’s gonna be a dead one,” maybe it was Boise, Idaho, but we had a great fucking time in Boise, Idaho! [laughs]

Looking forward to the rest of the year, what are you looking forward to the most?

J: It is the US/Canadian Tour, I would say. Absolutely. Because it’s been over a year since we did a proper nightliner tour, we’re coming with Hammerfall, so it’s a Swedish heavy metal invasion. The only thing that’s missing is a bit of Ikea and ABBA, and then you’ve got the whole package. [laughs]

Maybe you’ll manage to string ABBA along!

J: Yeah, somehow we’ll get them in there. No, but it’s for me, the end of the year. I mean, obviously we’re headlining Wacken and we’re doing a very special show there, a longer set and we’re using two stages, not going to go into details because that’s a secret, exactly what we’re doing. And also bringing a choir, so there’s a lot of fun to look forward to, but, personally, I still think that the North American run is gonna be the highlight of the year for me.

I know it’s still early to be thinking about new material, but what kind of topics are you guys considering for future albums? I know that you’ve wanted to do Napoleon and Alexander the Great, for example, for a while, now.

J: Yeah, we haven’t decided yet. We always have, like, between three to five topics at all times in our minds and then, as we get closer and closer to making an album or songwriting time, we narrow down the field. But it’s not something I’d like to talk about because if I make a statement like that and we announce that, “oh, we’re going to do this,” and it turns out we’re not doing it a lot of people will get angry and pissed off, especially these days, so I have found out it’s better not to give away any such information. Not because I want to be secretive, but I don’t want to make people sad if they really liked the topic that we were kind of planning on doing and then we chose not to for one reason or another. They’ll be disappointed with us, and I don’t want that.

I can definitely understand that. Do you think you’d ever potentially do an album of ancient history rather than modern history to creatively free you guys up a little more?

J: That’s absolutely possible. We’ve been looking into older stuff. It’s harder, though, because the further back you go, the more you go into myth and legend. In a way that’s liberating, but you don’t have to go far back at all to go to the times that even the regular soldiers could not read or write. So, what you have is the writings of commanders and they wanna look good [laughs] so they write propaganda. So it’s really nice to be in somewhat-modern history because you are working more with facts than with legends. There is so much interesting history in our ancient past, the problem there is sorting out legend from history, I guess.

Aside from World War I and II, what would you say interests you the most?

J: Oh! I mean, it’s different all the time. I’m not only interested in military history, I like history, period. But, you know, let’s say, art history would not be a good match for heavy metal, so [laughs] we figured that Sabaton is for military history! All of the emotioinal spectrum that we have in our music, it could be aggression, pride, joy, all of these elements that are in that emotional spectrum of our music is also in military history. 

But, right now I’m into, well, mostly the Cold War, actually, and all the proxy wars that happened and the spy games behind the scenes, and the space race, of course.

That is an interesting period. So much going on behind the scenes! All right, well, I think that pretty much covers everything I wanted to talk to you about. Thank you so much for your time, Joakim!

J: Yes, thank you for the good interview. I enjoyed it!

The Great War is set to release on 19 July under Nuclear Blast. If you want to preorder the album, check out tour dates, or see what’s new with Sabaton, you can find all of that on their >>website<<!

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Sabaton Release Titular Track Of The Great War

Swedish heavy metal heroes Sabaton have released the third single and titular track to the upcoming The Great War. Complete with a booming rhythm section, choirs, and a deliberately aggressive sound, it’s exactly what I want in a Sabaton song.

Sabaton – The Great War (Nuclear Blast)

As someone who’s had the good fortune of hearing the album already, I can tell you that it’s absolutely fucking killer, which is pretty typical of Sabaton, I suppose.

I also had the honour of interviewing the band’s Joakim Broden a few days for The Metal Observer, which you can check out here until it’s up on this site in a few days.

The Great War will arrive on 19 July.

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Sabaton Launches ‘The Red Baron’

The time has come for the second single for The Great War to be unleashed. This time, Sabaton take to the sky to give us ‘The Red Baron’: an organ-fueled metal shuffle about the War’s most notorious fighter pilot.

Sabaton – The Red Baron (Nuclear Blast)

Following in the footsteps of Sabaton’s first single, ‘Fields of Verdun’, ‘The Red Baron’ shakes it up a bit from their usual sound, delivering a new, exciting, and all-too-promising taste of what The Great War will bring us when it arrives on 19 July.

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Sabaton Release First Single For The Great War

The time has finally arrived for Swedish power heroes Sabaton to drop in with ‘Fields of Verdun’: the first single to their upcoming album, The Great War.

Sabaton – Fields of Verdun (Nuclear Blast)

Earlier this week, Sabaton posted ‘Fields of Verdun’ as performed by the string/symphonic metal band Apocalypta. If you happened to miss that one, check it out, too!

Apocalypta – Fields of Verdun (Sabaton Cover)

Sabaton have been building up The Great War like there’s no fucking tomorrow. They’ve had numerous announcements of announcements and they even released this cover before the actual song came out. With all of this (and the fact that ‘Fields of Verdun’ is better than anything that came out in The Last Stand) I think it’s safe to say we’re in for quite the album!

01. The Future of Warfare
02. Seven Pillars of Wisdom
03. 82nd All the Way
04. The Attack of the Dead Men
05. Devil Dogs
06. The Red Baron
07. Great War
08. A Ghost in the Trenches
09. Fields of Verdun
10. The End of the War to End All Wars
11. In Flanders Fields

The Great War will be available on 19 July.
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Sabaton Announce North American Tour

The time has finally come for Sabaton to announce their North American tour for the upcoming The Great War. It has been confirmed that Hammerfall will join them for support and they’ll be hitting major cities from coast to coast in both Canada and the USA.

For the dates and locations, check out the picture below! Ticket sales will go live on 3 May, along with the first single of the new album.

Not only will the tour feature brand new music from Sabaton, but Hammerfall have also confirmed that a new single will be here on Friday (and an album announcement is likely to follow).

Don’t miss the chance to see this epic Swedish invasion in person! And be sure to check out The Great War when it surfaces on 19 July!

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Sabaton Unleash ‘Bismarck’

After a week of buildup, Swedish power heroes Sabaton have released a new single. ‘Bismarck’ is being released independent from the upcoming The Great War, so we’ll have to wait a while longer to see what it will have to offer.

Sabaton – Bismarck (Nuclear Blast)

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Majestica Announce New Album Title And Release Single

Symphonic power metal outfit Majestica (formerly ReinXeed) have made a couple big announcements today; they have released their first single, ‘Rising Tide’, of their upcoming album, as well as confirmed the title: Above the Sky.

Majestica – Rising Tide (Nuclear Blast)

Here’s what Majestica has to say about the song:
“‘Rising Tide’ is not only an epic power metal song in the vein of Edguy, Stratovarius, and Running Wild. It’s also very orchestral with a lot of Hans Zimmer influences. The lyrics are about some people hoping to find the fountain of youth, because they’re becoming old and wanna relive the good times of when they were younger. This song also represents the band as well as the direction and sound of the new record pretty well. Not only for the music but also that we show that we love doing what we do and can throw in some humour here and there.”

Along with these announcements, Majestica have also released the cover art (produced by Sabaton guitarist Chris Rörland) and tracklist, which you can find below.

01. Above the Sky
02. Rising Tide
03. The Rat Pack
04. Mötley True
05. The Way to Redemption
06. Night Call Girl
07. Future Land
08. The Legend
09. Father Time (Where Are You Now)
10. Alliance Forever
11. Future Land (2002)
12. Spaceballs

After six years of inactivity, ReinXeed (with Sabaton’s Tommy Johansson at the helm) have signed onto Nuclear Blast, changed their name, and announced a new record. 7 June marks their return.

Preorder Above the Sky here.
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Top Seven Pump Up Albums

My favourite kind of metal is the blood-boiling, heart-burning, testosterone-fueling power metal that makes you want to ride into battle on a majestic, translucent steed into the Mists of Avalon. I listen to it when I’m working out, when I’m getting ready for something, when I’m doing nothing, when I’m driving, and pretty much everything in between. Taking that into consideration, this is also close to my list of favourite albums of all time.

Honestly, I could have chosen most of the discography from the following bands, but I managed to pick a winner from each. Anyway, without further ado, here are the best ball-busting albums known to the world of power metal.

Sabaton – Heroes

Sabaton is by far the most obvious choice, and Heroes has exactly what you need when you’re looking for a kick in the ass to kick some ass. With the exception of ‘The Ballad Of Bull’ (which is a pretty weak song altogether), it’s epic, thumping heroism for your soul.

Sabaton – Far From The Fame (Nuclear Blast)

Brothers of Metal – Prophecy of Ragnarök

Brothers of Metal took the metal world by storm upon their arrival in 2017 with their almost-comically badass tunes. Its lyrics of Norse mythology and battles are perfect for getting your blood going, and the bass is cranked so fucking high on this record that you’ll feel its banging war drums in the soles of your feet.

Brother of Metal – Yggdrasil (AFM)

Powerwolf – The Sacrament of Sin

Powerwolf is certainly a veteran in the area of fast paced, chugging, heathen power metal. Attila Dorn’s vocals are enough on their own to get the job done, but, fortunately, the rest of the band doesn’t hurt the cause.

On a side note, I’ve always found the soloing in Powerwolf to be consistently underwhelming, but I also find myself not minding that fact one bit.

Powerwolf – Fire & Forgive (Napalm)

Firwewind – Immortals

What else could be as motivational as some high quality Spartan-themed power metal with ridiculously awesome guitar solos? Firewind can always be counted on to deliver serious heat, and Immortals takes the music through the gates and into something even more intense.

Firewind – Ode To Leonidas (Century Media)

Battle Beast – Battle Beast

All-out cheesy songs about machines destroying mankind with a tinge of 80s spice? Sign me the fuck up. If this album doesn’t do anything for you, then I’m convinced that you’re unmotivateable. ‘Out of Control’ and ‘Let It Roar’ start the record off with a bang, and, aside from a few misses (like ‘Over the Top’ and ‘Black Ninja’, which are crap), it’s sure to get you ready for the machine uprising.

Battle Beast – Out Of Control (Nuclear Blast)

Hulkoff – Kven

To me, Hulkoff is the same flavour of metal as Sabaton, but a little less likeable. The thrashing Kven is Pär Hulkoffgarden’s first solo record and it throws some massive punches. It’s dense, heavy, and rugged.

Hulkoff – Dragonrider (Faravid)

Beast In Black – From Hell With Love

The newest (and my favourite) album to make the list is Beast In Black’s latest. As a child who grew up with 80s action movies (although it was twenty years after the fact), this album is a godsend; it takes all of the catchy, cheesy goodness of 80s pump up songs from the likes of Rocky and combines it with the heavy energy of power metal, sticking a clean, pristine bow on top of the mixing.

Beast In Black – From Hell With Love (Nuclear Blast)

Thanks for stopping by! Come back tomorrow for more content!

Stay Metal \m/