1. Dominium Maris Baltici 0:29
2. The Lion From The North 4:42
3. Gott Mit Uns 3:15		play
4. A Lifetime Of War 5:45
5. 1648 3:55		play
6. The Carolean's Prayer 6:14
7. Carolus Rex 4:53
8. Killing Ground 4:24
9. Poltava 4:03
10. Long Live The King 4:09
11. Ruina Imperii 3:24
12. In The Army Now (Bonus Track) 3:50

Line-Up:
    Joakim Brodén — vocals, keyboards
    Pär Sundström — bass, backing vocals
    Chris Rörland — guitar, backing vocals
    Thobbe Englund — guitar, backing vocals
    Robban Bäck — drums

It is now well known that Sabaton, have been basing their albums' concepts on different historic wars that took place over the ages. One of the things that I really like when they do that, is that the music changes accordingly with the era which they are describing. Carolus Rex is the brand new album from the Swedish metalers, to be released on the 25th of May via Nuclear Blast records, in two different versions. An English version and a Swedish version. Naturally, we’ll be reviewing the English version, since the only Swedish things we could ever pronounce, is probably Winberg or IKEA. Carolus Rex is the latin name of Charles XII of Sweden, who was king of the Swedish Empire from 1697 to 1718. Interestingly enough, you can really feel through the songs that this is the era described, without even having to know anything about the concept, which is really astonishing. From the first actual song on the album, after the intro song Dominium Maris Baltici, entitled The Lion from the North which refers to Gustavus Adolphus of Sweden, which was the founder of the Swedish Empire, to the last song Ruina Imperii, Sabaton take us on a long journey of Swedish history. Featuring some of the most important events such as the Thirty Years War (A Lifetime of War), what I think is describing the battle of Prague (1648), the era of Charles XII and the Great Northern War (Carolus Rex, Killing Ground), and the battle of Poltava (Poltava) which was a defining battle and the beginning of Sweden’s decline as a great power, there is so much to learn from this album. Anyhow, if you want to get more info on those historical facts, I’ve added the Wiki links on the second page of this review. The big gamble for Sabaton with this new album, was on if they could continue to create and expel something as epic as what they've composed on their previous albums. In all honesty, yes they can! Musically the album is epic as fuck. Just like we got used to from the Swedes, they bring out an astonishing energy filled with aggression and combativeness. The very stigmatic sing-along choruses are once again very present, which can only help us come to the assumption that more than a few of these songs will become anthems.

For the production of the album, Sabaton hired no other than Peter Tägtgren from Hypocrisy and Pain, who is also performing on one of the tracks on this album which, I assume, is on the Swedish version of Carolus Rex, since I wasn’t able to identify it on the English version. Another thing which I am unsure of, is on the personnel of the album. I assume that the album was recorded with the old line-up, rather than the new line up so it’ll be interesting to see on how the new guys will interpret the songs live. On a finishing note, I guess it's rather nice to see Sabaton going back to their own history instead of teaching our lazy ass, about our own individual history. A move which I suppose, will be very well received by the Swedish fans!

Favourite track is The Lion From the North, which is the 2nd track on the album. I think that this particular song strikes a chord in me thanks to its chorus. Obviously, I won't mention the epicness too much, just because I think that it has become a fact by now, but what is very interesting with this song is the superbly executed middle part with the choirs singing. This really brings out a very different feel, which somehow takes you back to the 18th century. --- peekfromthepit.com

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CD 1
01. Night Witches
02. No Bullets Fly
03. Smoking Snakes
04. Inmate 4859
05. To Hell And Back
06. The Ballad Of Bull
07. Resist And Bite
08. Soldier Of 3 Armies
09. Far From The Fame
10. Hearts Of Iron

CD 2
01. 7734
02. Man Of War
03. En Hjältes Väg (RAUBTIER cover)
04. For Whom The Bell Tolls (METALLICA cover)
05. Out Of Control (BATTLE BEAST cover)

Joakim Brodén – vocals
Pär Sundström – bass
Chris Rörland – guitar, backing vocals
Thobbe Englund – guitar, backing vocals
Hannes van Dahl – drums

For the longest time Sabaton was always the power metal band who sang about battle. This isn’t a stretch for most power metal, yet this Swedish act decided to step out of fantasy and into romanticized modern history. Sabaton was always the band whose rousing anthems memorialized famous battles and skirmishes in the World Wars. They were the History Channel of metal when that joke used to make sense. Heroes is Sabaton’s seventh record and is a culmination of a very busy 10 years. Since the mid 00’s this band has become one of the top contemporary power metal bands and a major fixture at European festivals. Lead vocalist, Joakim Brodén’s, iconic voice and hair style have become the band’s signature, announcing its presence wherever they go. It is strange how unified this band has been since experiencing a massive revision in its lineup. Chris Rörland and Thobbe Englund join the band on guitar as well as new drummer Hannes van Dahl. This could be a completely new era for Sabaton or just another day in the trenches.

Despite lineup changes, the band’s tradition of crafting insanely catchy vocal melodies has remained as well as their romantic sentiments for the armed forces. Continuing a centralized theme heard in the band’s previous album, Carolus Rex, Heroes illuminates individual stories of World War II. These range from the anthem-like “Night Witches” to the ultra dramatic “The Ballad of Bull.” Sabaton’s conscription into their army of the past could come with resistance if it were not for the complete and utter joy that comes to one whenever the band plays anything.

Despite one’s personal views on international politics, it is difficult not to get caught up in Sabaton’s stories. While the band’s motives are probably mostly geared towards memorializing history, there is a strong sentiment toward pro-armed forces. This stance, of course, comes easier when the music makes one clench their fists and raise them in solidarity against whatever enemy is being fought. --- hollywoodmetal.com

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1 	Coat Of Arms 	3:35
2 	Midway 	2:29
3 	Uprising 	4:55
4 	Screaming Eagles 	4:07
5 	The Final Solution 	4:56
6 	Aces In Exile 	4:22
7 	Saboteurs 	3:15
8 	Wehrmacht 	4:14
9 	White Death 	4:10
10 	Metal Ripper 	3:50
+
11 	Coat Of Arms (Instrumental) 	3:34
12 	Metal Ripper (Instrumental) 	3:50

Bass – Pär Sundström
Drums – Daniel Mullback
Guitar – Oskar Montelius, Rikard Sundén
Keyboards – Daniel Myhr
Vocals – Joakim Brodén 

With the exception of folks that just can't stand power metal, most would agree that if nothing else SABATON's "Coat of Arms" is good 'ole over the top, head banging fun. Nothing is understated, nuance is thrown out the window, and the approach is pure power metal grandiosity. None of it adds anything new to a genre that in typical form seeks first to induce fist-pumping, sing-along moments; shredded cheese and all. Most wouldn't expect anything else.

And for the most part, SABATON delivers the goods on "Coat of Arms". In the process they offer nearly an album's worth of lyrics based on some of the events of World War II that is as interesting as it is sometimes oddly juxtaposed against the glory and glitter of the music. Consider "The Final Solution", the marching cadence and effervescent keyboard melodies paired with lyrics about infamous Nazi concentration camp "Auschwitz" (as in "enter the gates, Auschwitz awaits"), one example of a chorus that you'll catch yourself singing just before realizing exactly what it is your singing about. Yet SABATON pulls off the history lesson with power metal accompaniment. There are a handful of very catchy tracks here too, including "Uprising" and its choral female backing vocals (the choral enhancements are heard throughout) and the surprisingly strong "Screaming Eagle". Joakim Broden's mid-range, marginally gritty, vocals add a measure of toughness to the otherwise bright 'n shiny musicality, providing a welcome balance. A more traditional power metal voice wouldn't have given the tracks the same oomph. The album closes with "Metal Ripper", a song that musically delivers in the same vein, yet peppers the lyrics with a potpourri of tributes to classic heavy metal songs ("Crazy Train", etc), as well as teasing for a few seconds at the start with the opening lick from JUDAS PRIEST's "The Ripper". It is an area in which bands like DREAM EVIL excel. SABATON follows suit in similarly effective fashion.

All in all, "Coat of Arms" is an enjoyable gush of power metal excess that comes with more than a few choruses that'll stick with you for a while, whether you want them to or not. It is an agreeable representation of the style, if not exactly a watershed release. ---Scott Alisoglu, blabbermouth.net

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