“‘Templars’ is the first song we wrote for our forthcoming album and it truly brings out the theatrical side of SABATON,” says SABATON bassist and manager Pär Sundström. “From the moment we started working on it, we were overflowing with ideas on how to bring it to life on stage. We didn’t just want to

The video for “Templars” presents a fictionalized depiction of a possible last stand for the Knights Templar. The band members take on the roles of the last remaining Templars, sworn to protect the secrets of their order. The story unfolds as the Templars intercept a letter warning them of their impending arrest for heresy. Soon after, an enemy army arrives on their doorstep demanding their surrender on behalf of King Philip IV of France. Refusing to yield, the Templars choose to fight to the bitter end. One by one, they fall in battle until only a single warrior remains. In a final, desperate clash, he defeats the enemy commander before retreating to the keep. There, he makes the ultimate sacrifice, setting fire to the stronghold to ensure the secrets of the order are lost to history.

The video was filmed at two massive historical fortresses in Serbia (Belgrade Fortress within Kalemegdan Park and Smederevo Fortress),both of which provided a striking and authentic backdrop for the epic battle scenes. To ensure both realism and safety, the band enlisted a large group of experienced reenactors, many of whom had worked in film production before. Their expertise helped bring the fight sequences to life with remarkable accuracy. Shot over the course of two long, hot days, the production faced intense summer heat, adding to the challenges of filming, but also enhancing the raw energy of the battle scenes.

As Thobbe Englund had only just rejoined the band after his almost eight-year hiatus, his bandmates wanted to mark his return in a memorable way by making him the last Templar standing, tasked with one final, epic battle. Initially, the plan was for him to wear a helmet so that a stuntman could step in for the demanding fight scene. However, the stunt coordinator had a different idea. He decided to take on the fight alongside Thobbe himself. While the battle was carefully choreographed, moments of improvisation added to its intensity. Clad in 40 kilos of armor, the two clashed with such force that the impact rumbled like an earthquake. To make things even more challenging, the scene was filmed in the scorching summer heat, and Thobbe was battling a fever at the time. Yet, he powered through, delivering a performance that was nothing short of legendary — a fitting way to mark his triumphant return to SABATON.

Better Noise Music is known for its creative artist development, innovative cross-media strategies, and ability to build international success stories. It was named Billboard‘s No. 1 Mainstream Rock Airplay Label and No. 1 Mainstream Rock Airplay Imprint of 2024, after its history-making run of five consecutive years as the No. 1 Mainstream Rock Airplay Imprint (2018-2022). In 2023 Allen Kovac moved up to chairman role and over the last two and a half years the company has been run by Dan Waite CEO, Steve Kline COO and president, Harris Masood CFO and Paul Cormack GM.

Since SABATON‘s 2005 debut LP, the band has released 10 studio albums (some of which have been certified as gold, platinum, and even quadruple platinum),seen eight of its albums score Top 10 international chart status, and six claim the Top 5.

“We’re truly excited to begin this new chapter with Better Noise Music,” SABATON bassist and manager Pär Sundström comments. “After exploring various record labels worldwide, we found Better Noise to be the perfect fit. As an independent label, they haven’t traditionally focused on our style of heavy metal, making this collaboration particularly exciting. We’re excited to see how this partnership develops, confident that they’re ready to embrace the challenge of working with a band that brings a unique sound to their roster.”

“We’re thrilled to welcome SABATON to our roster,” says Lexie Viklund, the label’s director of A&R. “Their powerful music and storytelling have resonated with fans worldwide, and we’re eager to amplify their presence in the U.S. while continuing to grow their global impact.”

Last October, Brodén told Radioactive MikeZ, host of the 96.7 KCAL-FM program “Wired In The Empire”, about the progress of the songwriting sessions for SABATON‘s follow-up to 2022’s “The War To End All Wars” album: “Yeah, we’re working on new material always, it feels like. I mean, if we’re done (with) an album, I feel like, ‘Screw that. I don’t wanna write music for a while now.’ But there I am three months later writing new music. Maybe I’ll sit with one of the guitarists on tour one day, and we’ll be bored on a day off because there wasn’t that much to do that day. It was Sunday. Everything’s closed. So let’s grab our gear and crank out a song because it’s better than doing nothing.”

He continued: “We already have some material. So it’s not like we are, after this, gonna take a break and then start writing. We’re in the works already.”

Elaborating on how he feels after an album is completed, Joakim said: “For me, when an album is ready, I — sorry to say — fucking hate it, because first process… And I’m not the only songwriter in the band, but I’m the one who writes most of the music. And I’m involved with lyrics or in most of the songs and almost all of the songs in a musical way. So I spend months in the studio writing, alone or with somebody, then getting all the pre-productions ready, which is me again cleaning up takes and what are we gonna do putting it all together, delivering it to everybody in the band so they can practice. Then we go into the studio. And then I’m the constant in the studio, keeping track of everything, making sure everything is (as it should be), with the producer. So I’m there for the whole recording. Then I take a little break, and then the audio engineer starts mixing. And then I come in again for the mixing. And then, at that point, I’m already tired of the songs. And then all you do from that point on is try to find problems and errors. What went wrong? What’s wrong here? Do we need to do a retake on something? Should we fix something? Oh, is that too loud? Do we need to EQ? So at that point I’ve programmed myself to only hear the problems with the album. So by the time like the master is done, I fucking hate it. I’m so tired of that music. So it’ll take me a year or two before I can even, in some objective way, listen to it again.”

play it — we wanted to show it!”