Nils Patrik Johansson’s third solo album War and Peace is an ambitious journey around the world through historic battles, showing that Johansson remains musically true to his set course while introducing new nuances here and there. The theme aligns seamlessly with the conceptual approach of his previous record The Great Conspiracy, in which he sang about the murder of Olof Palme. While The Great Conspiracy mainly focused on a national tragedy and conspiracy theories, War and Peace spreads out across continents and wars: from Gustav Vasa to Sarajevo. This historical ambition fits perfectly with his characteristic vocal style, previously described as “authentic” and “instantly recognizable” on his solo debut Evil Deluxe..
In terms of production, Johansson’s trusted partner Lars Chriss is once again at the helm. On War and Peace, Chriss not only handles production but also plays guitar and bass, resulting in a strong and coherent sound. Whereas his debut drew comments about the vocals being somewhat too dominant in the mix, the balance here is slightly more refined: the guitar riffs sound more full, the keyboards are woven in more subtly, and even the keyboard parts and trumpet (in Prodigal Son) add color without excessive drama.
When it comes to songwriting, War and Peace is in many ways stronger than his earlier solo albums. While Evil Deluxe largely stuck to classic ’80s heavy metal without a very distinct identity, and The Great Conspiracy combined sing-along melodies, strong riffs, and bombastic production, Johansson dares to experiment a bit more on this new work within his thematic framework, for instance with folky guitar lines in Gustav Vasa or Eastern-flavored motifs in The Great Wall of China. Yet he remains true to his style: bombast, melody and a distinctive voice remain the core of Nils Patrik Johansson.
Still, War and Peace is not without criticism. Where The Great Conspiracy received praise for its stunning production and powerful riffs, the structure of the songs on War and Peace at times feels too predictable. The use of historical motifs works, but sometimes the melodies fall into too much repetition or the vocals become somewhat static. The quieter moments (such as the intro Himalaya) are atmospheric but occasionally lack impact and some choruses linger a bit too long in the safe power-metal zone.
All in all, War and Peace is a logical yet successful next step in Johansson’s solo career. Compared to Evil Deluxe and The Great Conspiracy, Johansson shows greater maturity here. The production and arrangements have aged well, the themes are broader and the compositions dare to show more color. Fans of his earlier work and of classic, melodic heavy/power metal with a historical edge — as well as fans of Helloween — will certainly appreciate this album!
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