Sabaton
The Art of War

We have reached the fourth album of the power metal band Sabaton, and with it comes the first concept album by the Swedish warriors. The Art of War indeed talks about the famous book by the ancient Chinese general and philosopher Sun Tzu, titled exactly like the album by Sabaton The Art of War. However, I am not here to discuss military and behavioral philosophy, so I will begin with the album review: magnificent, surprising, originally expressive. For those who might only hear epic tones when listening to this album, if you seriously listen to the lyrics without prejudgment, it becomes perfectly clear that the central theme, especially of the most successful songs, is the despair and suffering brought by war, its destructive effects, and only secondarily, the glorious effects of actual combat.

After the brief intro "Sun Tzu says," it kicks off immediately to the brilliant "Ghost Division," which over the years has almost become the official opening song of Sabaton concerts, including the DVD Swedish Empire Live. The song talks about the famous 7th German Panzer Division and Erwin Rommel, and the rapid screams and tempos fit perfectly with the proposed theme, accompanied by stunning choir screams. With the main song "The Art of War," it transitions to something extraordinary, unmatched until the more recent "Carolus Rex"; the drums accompany the entire song with a physically exhausting tempo for drummer Daniel Mullback, an undeniable sign of the high technical preparation of the band members, Brodén's voice is as strong as usual, perfectly suited to the lyrics and uniquely poetic. We then move to "40:1", the Polish war choir that brings out the pride of a nation in a minor event of the Poland campaign, in any case, a really strong, fast song, rich in drama in the imminent defeat at the hands of the Germans, whose victory would not seem at all certain if the value of the Polish soldiers had not been accompanied by adequate tactical preparation and armament on par with the Germans. Following is the great "Unbreakable", perhaps a bit lacking in content, inclined to justify those tired of epicity (NOT ME), the fact remains that the sound is simply magnificent, from the first part to the double time of the second half, everything is perfect.

After the brief prose interlude of "The Nature of Warfare," comes "Cliffs of Gallipoli." "Cliffs of Gallipoli." Got it? A simply extraordinary and original song for Sabaton, a sound never tried before and that will never find emulation in their subsequent albums. A worthy commemoration of the Gallipoli landing and the despair of the mothers who lost their sons in the Futile Slaughter, who will deserve their rest in the million years to come.

Then, inevitably after a song like that, something slightly disappointing follows because it is compared to what precedes it. I am talking about "Talvisota," a song that reminds me a lot of "Nuclear Attack" from Attero Dominatus, which has never made me overly joyful listening to it, consequently, "Talvisota" also doesn’t have quite positive outcomes. We restart immediately with a bang with "Panzerkampf," and here all the epic tones and the glory of brotherhood in the great Russian counter-offensive against the Germans are perfectly suited to the slow, heavy sound, hammering like a march of soldiers towards the war front. Then comes "Union (Slopes of St. Benedict)," and as here we move towards the end of the war and massacre, so we move towards the end of the album accompanied by the urge to march that this beautiful song instills.

But before the end, there's "The Price of a Mile." "The Price of a Mile." Okay? It honestly conveyed to me the sensations of what life in the trenches might have been better than Hemingway did in A Farewell to Arms; which says a lot. The suffering, the difficulties, the hardships, the deprivation, the absence of an objective, and glory in victory, which remains only as a massacre in the face of the mere advance of the trenches. The heaviness of the guitar lines and drums is crucial to properly accompany these themes, and Sabaton has done it to perfection, even with the keyboard, which serves to give a decisive continuous tone to the song to prevent it from being fragmented.

We close with the aerial face of war with "Firestorm," a dramatic expression of the bombing warfare perpetrated by all the nations in the Second World War, but especially by the Anglo-Americans in Italy, including my city Treviso, which is why I am very personally attached to this song.

Well, actually, very well, a truly amazing album that far exceeded my expectations, giving me wonderful sensations. THANK YOU Sabaton!!!