Sabaton’s new record LEGENDS is what happens when battle hymns meet arena rock- thunderous, historical, unapologetically metal, and somehow both deadly serious and totally joyful. With eleven songs that each tell the story of a different historical figure or moment, LEGENDS feels like a metal tour through the pages of a beautifully illustrated history book… if that history book also punched you in the face and made you air-guitar during class.
We start off in white mantles and blood-red crosses for the first track, ‘Templars’. The choir intro alone makes me want to don a surcoat and take the oath. Then the guitars drop in, chugging like cavalry charging into battle. The rhythm section drives like a warhorse, the melody soars, and the chorus is pure fire-and-faith power metal. As someone who belongs to the modern Masonic order of the knights Templar, I wholeheartedly approve. Jesus is metal as hell.
Synths open ‘Hordes of Khan’ with a retro sci-fi vibe that somehow fits the brutal world of Genghis Khan. This track is percussion-forward- heavy, tribal, and stomping. The bridge drops you right in the middle of a Mongol horde about to descend on a terrified village. And then… bam! The guitar solo rips through like an arrow in flight. This is what you blast on your horse as you burn down an empire.
‘A Tiger Among Dragons’ brings the listener tribal drums, crashing guitars, and sweeping strings- this is history told by firelight. The vocals evoke an old storyteller recounting the legend of a lone warrior facing overwhelming odds. The chorus hits deep- “Dragons will rise, dragons will fall”- pulling emotion out of melody in a way only Sabaton can. The guitar solo is melodic and rich with harmonies that feel like myth coming to life.
Crossing the Rubicon follows with big synths and even bigger energy. The pre-chorus build-up is especially satisfying- giving the chorus a sense of wide-open space, like stomping through a Roman forest on the eve of civil war. The solo creeps up on you (with vocals from Justin Hawkins from Nothing More) transitions smoothly, and elevates the final chorus into total headbang territory. Live, this song would level a coliseum.
Sabaton brings another rhythm-heavy anthem with the next track ‘I, Emperor’. The chorus steals the spotlight with lyrics that echo like the last words of a dying general. There’s a nearly spoken-word bridge that cuts through the noise before the solo swoops in: short, melodic, and full of intent. It’s got the weight of Rome behind every note.
‘Maid of Steel’ wastes no time. It’s heavier, darker, and hits like the title character herself: a warrior saint forged in steel. If Joan of Arc is listening, I hope she’s headbanging with us. The chorus is forceful and commanding, and the solo absolutely shreds. The whole thing feels like a fist in the air.
‘Impaler’ shifts the vibe. The creepiest intro on the album, ambient and brooding, before launching into a track that’s as melodic as it is murderous. Telling the grim tale of Vlad the Impaler, this song somehow balances gruesome lyrics with an almost radio-ready structure. The guitar solo is my favorite on the record- beautifully constructed, composed like a eulogy with teeth. When Joakim sings “decapitation” in the chorus, it’s almost too catchy for comfort.
A teasing, beckoning guitar line opens ‘Lightning at the Gates’ before it explodes into full Sabaton glory. The chorus has the same energy as a Norse sea shanty rhythmic, massive, and unrelenting. The guitar solo feels uplifting, like your coach cheering you on from Valhalla. You can’t help but grin through it.
‘The Duelist’ is a headphone must. Dual guitars dance across the stereo field before a sharp, snappy intro leads us into a tale of honor and blades- specifically, Miyamoto Musashi. The pre-chorus is hypnotic, and the respect Sabaton brings to the subject is clear. It’s got the tension of a martial arts duel at sunrise, and if it doesn’t end up in a movie soundtrack, someone’s asleep at the wheel.
‘The Cycle of Songs’ is pure 80s power. The synth intro feels like it escaped from a neon-lit horror movie- and I mean that in the best way. The guitar riff that follows is crunchy and addictive. There’s a lot going on here, but it’s all perfectly balanced: choir, melody, rhythm, and rage. It’s a celebration of music as a weapon and a legacy.
‘Till Seger’ is a perfect goodbye. The organ intro is rich and warm, leading into a powerful final track that feels like Sabaton is tipping their hat on the way out the tavern door. The guitar work is expansive, and the band goes full-chorus mode to close things out. It’s a victory lap and a farewell toast all in one.
With LEGENDS, Sabaton doesn’t just retell history- they make it roar. From medieval Europe to feudal Japan to the steppes of Asia, they wrap each story in soaring melodies, chest-thumping rhythms, and a deep respect for the legacy behind the lyrics.
This record is the musical version of a war journal inked in blood and shouted over a battlefield, and it’s a blast to listen to. Whether you’re a long-time fan of historical metal or just a sucker for big choruses and ripping solos, LEGENDS is a battle you’ll want to march into.
TRACKLISTIN
1. Templars
2. Hordes Of Khan
3. A Tiger Among Dragons
4. Crossing The Rubicon
5. I, Emperor
6. Maid of Steel
7. Impaler
8. Lightning at the Gates
9. The Duelist
10. The Cycle of Songs
11. Till Seger
