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Anyone with any kind of background or interest in military history (I can personally claim some small knowledge of the Second World War, the Napoleonic War, and the Jacobite Uprising – all subjects of Sabaton songs) is swift to point out the frequent lack of any real detail, specific/accurate terminology, or anything more than a surface-level comprehension of events. Put frankly, those taken with Sabaton’s “historicity” and impressed with its depth are the sorts whose idea of “being interested in history” is only equal to the task of watching a World War II documentary if nothing else is on TV and/or playing Company of Heroes. Since I’m finally reviewing a Sabaton release, please forgive me a little bit of time to thoroughly – and publicly – address and critique the band’s lyrical approach.
#New sabaton album 2016 full#
Really, by all rights, I ought to be here delivering a pretty lukewarm review, but after purchasing The Last Stand (the special edition, no less) at full price and adding it to a shelf that, with raised eyebrows, I realized was much more full of the Swedes’ work than I’d thought, I have to admit that I’m still at least something of a Sabaton fan, and The Last Stand is probably the best example of why since The Art Of War. I generally dismiss every Sabaton album as undeniably catchy, but not worthy of purchase and too insubstantial to occupy me for more than a very occasional spin. What have we come to, that I am reviewing a recent Sabaton release? Since The Art Of War, I have been routinely critical of the band’s one-dimensional, frequently self-derivative songwriting approach, its elementary school-level capabilities around quasi-historical lyric writing, and general marginalizing of many of the things I love about my favorite subgenre of music.
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