I always go back and forth between my favorite Power Metal Bands, whether it’s the previously covered Kamelot or the masterful Powerwolf; there are many to choose from. However, one specific band draws out certain emotions in me that I constantly chase. Sweden’s historical scholars, Sabaton, combine the fantastical nature of history with unique takes on Power Metal. One of my favorite albums by them is Carlous Rex, a pseudo-concept album that covers the rise and fall of the Swedish Monarchy, and King Charles XIII himself. To understand this cool history lesson and the near-perfect craftsmanship, we must dive into the album and rate it track by track.

“Dominium Maris Baltici”: 3

   The album starts with a prelude filled with beautiful strings. It establishes the love Sabaton has for their homeland, with this track showing the beauty of Sweden. It also serves as a thunderous (but somehow contrasting) transition into the first full-length song on the record.

“The Lion from the North”: 3

  I know, I rated it lower. But I think this song overall is great. It sums up the sound of Sabaton into one song. It has all of the great aspects the band offers. The thunderous grandeur and catchiness make it a perfect song. However, I don’t go to this one as much. You may know a pattern within this list, since it’s apparent that I prefer the album’s deeper cuts to its singles. It all comes down to genuineness. You can tell this song was made for radio play. It’s based around a character study of King Gustavus Adolphus (Gustav II Adolf), portraying him as a fearless, legendary warrior, the “Lion of Midnight,” who led Sweden to greatness during the Thirty Years’ War, bringing a “Storm over Europe” and ushering in a new era of warfare and power for the Swedish Empire.

“Gott mit uns”: 4

  Going into the next song, I wasn’t expecting Oskar Montelius and Rikard Sundén to go full pirate jig on their guitars. But it gives the song insurmountable amounts of character. It’s also good to point out that Joakim Brodén’s vocals are oddly brighter. Usually, he sticks to the lower/mid range, but he keeps the lower ends for the chanting sections of the choruses. It’s groovy and, like the previous track, catchy. As the title hints, the song is based on a traditional motto signifying divine support for a nation or military, famously used by German forces (Prussian, Imperial, and Nazi-era Wehrmacht) on belt buckles and as a rallying cry, representing a belief that God is on their side, but its historical usage also links it to Swedish military tradition and broader themes of faith in conflict.

“A Lifetime of War”: 4

   The contrast of the presentation is perfect. The similarly anthemic approach to “A lifetime of War” still helps listeners marinate in the triumph of the previous track. However, the song is more ballad-like, and stylistically, it is a beautiful piece. Probably one of the more standout parts is Montelius and Sundén’s guitar work. It’s liminal, but they hold a perfect melody. Aside from the obvious choirs behind the grand voice of Brodén, they provide a fullness and a lower end to the magnitude of the song. Sabaton details the horrors of the Thirty Years’ War, focusing on the destruction, religious/political greed, and the plight of common soldiers, showing how leaders send young men to die in a conflict that bleeds Europe for decades, leaving survivors questioning humanity’s sanity as death unites all classes.

“1648”: 4

  Even though I am heavily critical of older Power Metal bands, the approach and energetic feeling they put into their music is awe-inspiring. Even though Sabaton is the opposite, they employ a lot of Judas Priest-esque structure. The Thrash-laden approach of Montelius and Sundén shows off not just their love for the genre, but their deep understanding. Brodén is a great storyteller and has a ginormous presence. “1648” centers on the final, brutal events of the Thirty Years’ War, specifically the 1648 Battle of Prague and the Peace of Westphalia, depicting the conflict’s devastating impact, the futile resistance of Prague’s citizens, and Sweden’s final push to seize treasures and territory before peace was declared.

“The Carolean’s Prayer”: 4

   Upon looking into the structure of the track, I’m not sure what makes it great. Honestly, it feels awkward, like writing with my left hand. But it’s still an effective and easy listen through. The chorus is begrudgingly slow, but with the background choir allows the listener to be engulfed in emotion. Lyrically captures the fatalistic, devout faith of King Charles XII’s Swedish soldiers (Caroleans), expressing their unwavering belief that God controls life and death in battle, even amidst overwhelming odds.

“Carolus Rex”: 4

   I was concerned with this song since the last couple of title tracks I’ve done have not hit the right note. This track is the opposite. The only problem is that the songwriting felt a little too mainstream. Like “The Lion from the North,” it feels a little too dumbed down. But overall, this is the zenith of the album. It combines all of the great and constant aspects of the album and presents them as a balanced anthem and story. It centers on the absolute power, divine right, and relentless ambition of Sweden’s King Charles XII, focusing on his coronation at 15 and his iron will to expand and defend the Swedish Empire, embodying themes of supreme authority, conquest, and divine mandate, with the English version emphasizing his unique heavenly selection and rule above all.

“Killing Ground”: 3

   This next track is just meh. It’s horribly written and perfectly fits within the tracklist. It just recycles a lot of the approach to this album and is forgettable. I think it’s a good jumping-off point for newer listeners since it fits the characteristics of the album. It covers the Battle of Fraustadt on the 13 of February, 1706. In this battle, an outnumbered Swedish army annihilated a Saxon and Russian army through the skilled use of their cavalry. After the battle, the Swedish troops executed 500 Russian soldiers.

“Poltava”: 4

   “Poltava” was a welcome addition and a confusing listen. It doesn’t quite feel like a Power Metal song, but it also feels like a Judas Priest song. I can’t place a thumb on why I like this song, but it’s unique enough to make a distinction within the tracklist. It’s almost as if Brodén and Co. knew the precious track was overly basic, so they tried to make up for lost time. Looking at it now, the only similarity to Priest is  Montelius and Sundén’s thrasher guitarwork. This song is about the Battle of Poltava (8 July 1709). It was a decisive victory of Russia over Sweden in the Great Northern War.

“Long Live the King”: 5

   There hasn’t been a single song that I have covered that has made me motivated enough to reenact Ridley Scott’s ‘Kingdom of Heaven’ more than this track. Where do I start? Montelius and Sundén fill the air with low-end glory, usually I’d say power chords are a basic route to go, but their punchy and somehow only a fraction of this song’s magnitude. Brodén’s and the choir’s vocals perfectly combine storytelling and emotion, rivaling Freddie Mercury’s Performance at AID (you know the one). Lest we not forget the 80s power ballad-esque thunder of Daniel Mullback’s drums. Brodén triumphantly tells the story of the death of Charles XII of Sweden, also referred to as Carolus Rex. Killed during the Siege of Fredriksten, there has been significant controversy over the cause of Charles’s death. According to autopsies, he was killed by a bullet from one side of the brain to the other. No one witnessed the death, and it is unknown whether he was murdered or killed by enemy forces. Regardless, Charles’s death at only 36 and after only 19 years of rule was widely dismissed. Charles was a beloved king and fought to ensure the existence of the Swedish Empire. With his death came the death of the Swedish Empire and most glory associated with Swedish military battles.

“Ruina Imperii”: 4

   Usually, I would argue that the previous song was the best way to end off, but I could see some room for others to debate that. For what it’s worth, this song gets close to capturing that same feeling. The marching band sound resonates well. Brodén’s robotic sounding Swedish creates a devoid feeling of dominance, that the proverbial army is working as a well-oiled machine. The finale retells the story in Swedish of the result of the Great Northern War and the downfall of the Swedish Empire.

   What can I say that hasn’t already been said? This album is pure perfection. It reinvented the wheel and reinvigorated my love for genre.