Alright, I think I'm starting to catch up. When I get to these later years, it's hard to really say anything conclusive, as rock and metal have long since come their own way by this point. So once again, I'll be reviewing some albums from this year to fill out the article, but be sure to check out the playlist below for some more solid tracks.
Funny story: I've actually heard this album before. I remember some prog rock sites highly praising this one, so I gave it a listen, and at the time, most of it just kinda went in one ear and out the other. Except for "Until the End." For some reason, that song stuck with me, and I've since listened to it several times. With this anniversary article, I figured I should give the whole album another shot and really see how I feel, now that I have a better idea of the band's sound. I've listened to a few of their albums before, including their debut, but I think this one stands out for its rich production and moody atmosphere.
Not to say that IQ was particularly peppy before, but this album really leans into a particular sense of darkness, letting it linger so that it can explored. Much of the lyrics focusing on wrestling with some abstract concepts, though some of the songs shift into a more hopeful tone, often with the theme of reconciliation. The band is quite tight, with no performance standing out so much as these songs show just how in sync they are with each other, and the album flows quite well as a consequence. If there are any problems, it's the songs are so similar to each other that they do kind of blend together. Sure, they have the dynamics of prog rock within the songs, going from soft to loud and somber to uplifting, but when it's that kind of thing song after song, and the vocal cadences don't vary too much, the album may be a struggle for those wanting more variety in the tones and ideas. However, those who don't mind letting the music soak around them won't have a problem.
What the band really excels in, though, is interesting transitions, solid atmosphere, and many catchy melodic hooks. If the album weren't quite so long, I'd say it would be a great starting point for someone getting into the genre. The songs are all pretty good, even from the curious start with the samples from the classic 30s Dracula, through the epic "Without Walls," the fascinating combo of "Knucklehead" and "1312 Overture," to the fade out ending of "Hardcore." However, I think the big stand outs are "Until the End", which I mentioned before, "Constellations," which is a good throwback to 80s prog, and "Ten Million Demons," with a pulsing synth bass reminding me of Pink Floyd's "One of The Days." As usual with prog rock, I'll have to listen to it a few more times to really decide how I feel about it, but overall, this is a good (if long) album of moody prog rock songs that flow, drop, and build-up well, arranged into a satisfying journey.
Wow, has it really been more than two years since I last talked about Sabaton? To be fair, their last album was kinda lackluster, being just another chunk of songs about World War I with some novel elements. However, they've been pretty busy with their concert film and will likely be working on a new album soon (if they aren't already). In any case, this article gives me the opportunity to fill in another gap in their discography that I haven't listened to. The novelty with this one is an emphasis on individuals rather than the great battles of World War 2.
It's business as usual for the band, as Joakim Brodén belts out the stories with his usual charisma. Naturally the band backs him up with the usual amount of melodrama and bombast, with choirs kicking in from time to time for the big moments. The songwriting doesn't deviate much from their typical heavy/power metal flair, though "The Ballad of Bull" falls a little flat as it's more of a piano-driven ballad. This is the first album with newcomers Thobbe Englund and Chris Rörland on guitars and Hannes Van Dahl on drums who all perform admirably.
Honestly, even with the lineup changes, Sabaton is pretty consistent in their style and quality. As usual, I found a few songs that stand out from the pack, particularly the first two songs "Night Witches" and "No Bullets Fly" which set the tone for the album pretty well, and "Resist and Bite," which is full of the heroic vigor this band does so well. While some may scoff at their discography being the same thing over and over, those of us who don't mind a bit a cheese with our epicness know that this band delivers where it counts, and that's more than enough.
Accept is another band I've been slowly working through. This one is their third with Mark Torillo, and the last one to have Herman Frank on guitars who would go back to his solo work and other projects. Unsurprisingly, it's another slab of old-school, traditional metal with solid modern production.
The album chugs along pretty nicely, shaking things up just enough with the tempos. Things start off energetic with "Stampede," and are carried on with "200 Years" and the closer "Final Journey." Meanwhile, they get slow and groove-driven with songs like "Dark Side of My Heart," "Fall of the Empire," and "Bloodbath Mastermind." They even touch on power metal territory with "Trails of Tears." However, I think the song that stands out the most is "Dying Breed," featuring slick 6/8 riffs and referencing a bunch of their influences. It's a pretty consistent album from beginning to end.
However, Blind Rage isn't as strong as Blood of the Nations or Stalingrad. I'm not really quite sure why I feel that way; maybe it's just that I'm getting used to their modern sound and so this album isn't doing anything that the other two already did. Still, I'm sure to come back to this one (and the others) when I'm in the mood for some classic metal crunchiness.
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