Bloodbound – ‘Field Of Swords’

(Napalm Records)

If there’s one thing Bloodbound have always understood, it’s that power metal should feel larger than life. Not just loud or fast, but heroic, theatrical, and unashamedly epic. On Field Of Swords, the Swedish power metal veterans sharpen their blades and charge headlong into battle once more, delivering an album that feels tailor-made for clenched fists, soaring choruses, and imaginary wars fought from the safety of your headphones. This is classic Bloodbound, but refined, confident, and packed with some of the strongest keyboard work in their discography courtesy of Fredrik Bergh.

Right from the opening moments, Field Of Swords makes its intentions clear. The production is crisp and punchy, with guitars slicing through the mix and drums driving everything forward at a gallop. But what really elevates the album is the symphonic backbone running through it. Fredrik Bergh’s keyboards are everywhere and thankfully so. Rather than being buried in the background or used as mere window dressing, they form a central pillar of the album’s sound, adding drama, atmosphere, and a sense of grandeur that perfectly complements Bloodbound’s sword and sorcery lyrical themes.

The title track sets the tone beautifully. It’s fast, melodic, and instantly catchy, with a chorus that begs to be shouted along to. Bergh’s keyboards don’t just pad things out here—they lead the charge, weaving majestic melodies between the guitars and lifting the song into full cinematic territory. There’s a real sense of movement and purpose, like an army marching toward the horizon, banners flying. It’s power metal doing exactly what it’s supposed to do.

As the album unfolds, Bloodbound strike a strong balance between speed-driven anthems and more mid-tempo, epic cuts. The guitar work is tight and energetic, but it’s Bergh’s keyboard lines that often steal the spotlight, adding neo-classical flourishes, choirs and dramatic leads that give each song its own identity.

‘As Empires Fall’ is darker in tone but no less melodic, this track leans into a more dramatic atmosphere. The keyboards play a crucial role here, layering tension beneath the verses before bursting into a soaring, emotionally charged chorus that feels both triumphant and ominous.

‘Defenders of Jerusalem’ is one of the album’s most epic cuts, this song thrives on its grand scale. Marching rhythms, choral keyboard accents and a commanding vocal performance make it feel like a soundtrack to a historical siege. Bergh’s orchestral touches add weight and authenticity.

‘The Code Of Warriors’ is driven by a punchy mid-tempo groove, this track focuses on melody and attitude. The keyboards subtly reinforce the main themes, adding texture rather than dominating, while the chorus is built for crowd participation and fist-pumping unity.

‘Land Of The Brave’ is an uplifting, anthem-like track that leans heavily into classic power metal traditions. Bright keyboard melodies and a soaring chorus give this song a feel-good, heroic vibe that’s both catchy and inspiring without becoming overly sweet.

‘Light The Sky’ is one of the album’s most energetic moments. Fast, sharp, and bursting with melodic hooks, the keyboards here are more playful and aggressive, dancing around the guitars and pushing the song forward with relentless momentum.

‘Teutonic Knights’ is heavy, imposing, and steeped in medieval atmosphere, this track stands out for its darker edge. The keyboards add a gothic, almost choral backdrop that enhances the song’s weight and sense of historical drama.

‘Forged In Iron’ – As the title suggests, this is a muscular, no-nonsense power metal crusher. Solid riffs and pounding drums lead the way, while the keyboards add subtle symphonic layers that give the track extra depth without softening its steel-hard core.

‘Pain And Glory’ is a more emotional and reflective track, this song balances melody and power beautifully. The keyboards are particularly effective here, adding warmth and atmosphere that elevate the song’s sense of struggle and triumph.

‘Born To Be King’ is a confident, swaggering anthem with a massive chorus. The keyboards underline the regal themes, giving the song a sense of nobility and grandeur that makes it one of the album’s most memorable sing-alongs.

With ‘The Nine Crusades’ the album closes on an epic note. This track feels like a final chapter, blending atmosphere, melody, and power into a satisfying conclusion. Bergh’s keyboards dominate in the best way possible, ensuring Field Of Swords ends in true cinematic style.

One of the real strengths of Field Of Swords is how cohesive it feels. This isn’t an album of disconnected tracks thrown together; it plays like a unified campaign. The keyboard themes recur and evolve throughout the record, creating a sense of continuity that keeps the listener engaged from start to finish. Whether it’s subtle orchestral layers beneath a verse or full-on symphonic explosions during a chorus, Bergh’s presence is always felt, and the album is undeniably richer for it.

Vocally, Bloodbound deliver exactly what fans expect—powerful, melodic, and commanding. Patrik Selleby’s vocals sit comfortably atop the dense instrumentation, cutting through without overpowering the rest of the band. There’s a strong sense of melody throughout, and the choruses are built for live settings, where they’ll undoubtedly become crowd favourites. Again, the keyboards play a crucial role here, reinforcing vocal lines and adding harmonic depth that gives the songs extra emotional weight.

Midway through the album, the pacing is particularly impressive. Bloodbound know when to push the throttle and when to let the songs breathe. The more epic, slower-burn tracks allow the atmosphere to really sink in, with layered keyboards creating a sense of scale that feels almost cinematic. These moments highlight just how important Fredrik Bergh is to the band’s sound –without his touch, Field Of Swords would still be a solid power metal album, but it wouldn’t feel nearly as immersive.

By the time the closing tracks roll around, there’s no sense of fatigue. Instead, the album finishes strong, leaving you with that familiar power metal afterglow and the urge to hit play again, raise a fist, and rejoin the battle. Field Of Swords doesn’t reinvent the genre and it doesn’t try to. What it does is embrace everything that makes power metal great and deliver it with conviction, polish and a genuine sense of fun.

Field Of Swords stands as one of Bloodbound’s most enjoyable releases, especially for fans who appreciate strong symphonic elements. Fredrik Bergh’s keyboards are the secret weapon here, elevating the album from a straightforward power metal assault into something far more epic and memorable. For fans of soaring melodies, heroic themes and keyboards that actually matter, this is an album well worth marching into battle for.

7/10

Essential Track – ‘Defenders of Jerusalem’

Review by Woody