In , it was re-released for a second time by No Colours on CD and vinyl. The CD version had the logo in red and the vinyl version had a red logo. The CD and vinyl versions had different covers from each other. The band's third full-length album, Following the Voice of Blood , was recorded 25 September - 18 December and released in via No Colours.
With the album, Immortal Pride strongly influenced by the movie soundtrack of Conan the Barbarian , the band took on a folk style, while moving more into Viking metal. Its sound became more epic, symphonic, and added more keyboards and chorales. The songs also became much longer. For instance, Immortal Pride consists of four songs: two of them being the intro and outro; and the other ones being 24 and 17 minutes long.
Since Creed, Darken has worked without Capricornus on drums. In November , it was announced that Rob Darken had assembled a live lineup and Graveland would play its very first live shows in April Connect to Spotify Dismiss.
Search Search. Play album. Length Related Tags black metal pagan metal nsbm poland Add tags View all tags. From The Album Play album. Thousand Swords Graveland 10, listeners.
We attacked with thousand swords Our banners were streaming under clouds At the gates of christian capital the wide river of blood was flowing we… View full lyrics. Play track. Artist images 95 more. Graveland 33, listeners Related Tags black metal pagan metal nsbm Graveland are a Polish pagan metal band which was formed in by Rob Darken born Robert Fudali. They began as a black metal band before adopting a pagan and Viking metal style. The lyrics and imagery of Graveland are strongly inspired by European mythology, far-right politics and neo-Nazism, nature, winter and war.
Their early work focused on Celtic and Slavic mythology, while their later work focuses on Norse mythology and Wotanism. Darken sees himself as a Heathen and Christianity as the worst enemy of white Europeans. The lyr… read more. The lyrics and imagery of Graveland are strongly insp… read more. Similar Artists Play all. Trending Tracks 1. Features Exploring the local sounds and scenes at Noise Pop Fest.
Albums of the latest and loved, and the ones to look out for discover By okspud1 15 Feb am. Saturday 28 March Monday 30 March Tuesday 31 March Wednesday 1 April Thursday 2 April Friday 3 April Saturday 4 April Sunday 5 April Monday 6 April Tuesday 7 April Wednesday 8 April Thursday 9 April Friday 10 April Saturday 11 April Sunday 12 April Monday 13 April Tuesday 14 April Wednesday 15 April Friday 17 April Saturday 18 April Sunday 19 April Monday 20 April Tuesday 21 April Wednesday 22 April Thursday 23 April Friday 24 April Saturday 25 April Sunday 26 April Monday 27 April Tuesday 28 April Wednesday 29 April Thursday 30 April Not good awful, like raw black metal is supposed to be, just crap.
The guitars sound pathetic, absolutely no bite at all. There might be some bass somewhere; I couldn't tell you. The keys are alright, but have a weird habit of being loud in parts and barely present in others. The drums are ok though. The production is so lousy it makes me literally fall asleep. The music Not that it's terrible, it isn't, and for the most part is quite good, but there's just too much hype on this one. Hype sucks, and I should really stop listening to it.
Born for War actually makes me want to kill Christians, it kicks so much ass. To Die in Fight is similarly awesome. Even the title track has its moments. The Dark Battlefield is totally forgettable, literally. I've listened to this album numerous times and I can't remember a single note of it. Then you have Black Metal War, a completely stupid and pointless and blessedly short song.
Why does this song exist? It doesn't fit the theme or mood of this album at all. It's between the twin greatnesses of Born for War and To Die in Fight, and totally jars you out of your good black metal stupor. Anyways, once you get past the worthless production and couple of dud songs, you've got some good stuff here. Worth anyone's time, I say. Production: Gloriously wretched; but not done "on purpose" to make it sound "more black metal" than more commercial acts.
It seems that production on albums such as these is done from some sort of inherit intuition; subconscious knowledge of how to capture epic atmospheres and ancient textures. Some will hate this kind of production because it can be a challenge to listen to at first; there is no flash what so ever and the degraded overall tone is quite rough. If given a chance though, it soon becomes obvious that this production works well.
What this album lacks in technical skill the artists make up for in an understanding of how to make a composition full and complete. Epic themes are introduced, explored, expanded upon, and reintroduced; concluding a journey where the listener feels that nothing has been left out; the statement has been completed.
Themes of antiquity work almost like an incantation; awakening something buried deep in the listener's soul that one may not even be aware is present until experiences like these bring them to life. Much of the Graveland aesthetic is based on honor and heroism; those who's intuition grasps this will most likely praise these type of albums as more than just listening experiences, but as cornerstones to life-changing growth.
As stated above, the melodies are epic and ancient in mood, and it is melody that dominates the focus of this release.
I've heard detractors say that the drums are "pure shit" on this album; I beg to differ. The melodic themes are so pronounced here that even the drumming style introduces an unusual way of keeping that focus on said melodies. Same goes for the guitar; some say the tone is "too thin", but an over distorted, obnoxious guitar, would distract the listener from the overall adventure. I am in awe of this album; the atmosphere present on "Thousand Swords" is rarely duplicated, and Graveland should be given credit for contributing an astonishing piece of artwork to the world.
Black metal is, of course, supposed to be a very ugly form of music. And this really does exemplify a particular school of black metal, in its raw, heathen sound. But that doesn't excuse the fact that it's really physically painful to hear it. Rob Darken's voice is incredibly, incredibly grating, and the guitar lines are played as if by someone who has just purchased the instrument and is playing through an amp that is likely to stop working before the song is over.
Of course, some times raw ugliness works in a band, especially a black metal band. But Graveland is decidedly not Mayhem.
They completely lack any of the energy with which a good band like Mayhem is able to make this sort of sound work. They instead plod painfully through a series of pretentious 8 minute dirges, each of which plow into one's head and threaten to rip out the victim's ears. And the victim would likely be glad for this. The 45 points given are sheerly for the band's ability to put across an atmospheric theme, ie one of being eaten by wolves in a blizard.
These are all words that can be used to describe this piece of music conjured forth in the days of December by three dark souls. Yet they all fail to do it any justice, for this was and still is the finest expression of the pagan spirit in the realm of black metal. The three people responsible for this journey to the past are Karcharoth on bass, Capricornus on drums and musical visionary Rob Darken provides the rest.
And what they created here transcends mere music. From the opening intro written by Karcharoth one is instantly transported to the mystical past as toms beat a steady rhythm, a distorted guitar plays a wistful melody, soon to be joined by a clean acoustic guitar, giving way to the opening notes of starting song Blood of Christians on my sword and the epic pagan spirit is unleashed.
The bass provides a warbling ambient backdrop to the inspiring riffing, allowing the listener to sink in even deeper into the atmosphere which is further enhanced by sporadic, half-buried keyboard accentuations and the clean chanting of the album opener. The production, which sounds odd at first, greatly enhances this aspect, as it accentuates the very thin sounding lead guitars and drums while the bass, keyboards and supporting rhythm guitar melt together into a nebulous ambiental backdrop.
Gone are any pretensions of drumming in a metal way, instead employing pure paganistic percussion, martial pounding and rythms that literally sound like the galloping of horses. The first three songs, as well as the short Black Metal War, present this frenzied warlike atmosphere until The Time of Revenge changes things around with more severe, morose sections followed by frantic fastpicked riffs and drumwork while Karcharoth unleashes several banshee-like shrieks reminding me of a nazgul.
This entire track comes across as a wild chase on horses with several sword exchanges made, to exact a terrible vengeance against some supernatural foe. Keyboards are far more present here in the form of a choir to enforce this while high trebly riffing dances around it in a majestic fashion. This song is more midpaced than the previous ones and has a few very contemplative moments as a lone guitar plays a highly nostalgic sounding riff, speeding up occasionally into fast galloping parts possibly describing the wars the protagonist fought in.
The cd finishes off with To Die in Fight, probably the most experimental and conceptual song on an already highly experimental and conceptual album.
Then an almost anthemic outro closes the album on a high note with heavy drums, horns, chanting and mystic guitarwork, leaving the listener with a last glimps into a forgotten era of valour and pride. This album is groundbreaking in many ways as it almost completely discards traditional black metal riffing, drumming, songbuilding and production.
This work of art is engineered to be like a soundtrack to the ancient past, all the elements becoming a gestalt that is greater than its individual parts, a unification of a single vision, staggering in its clarity. For the duration of this album, you almost become someone else, a paganistic warrior in an uncompromising warlike age fighting for what you believe in!
I personally consider this the greatest pagan black metal album, perhaps even the greatest black metal album period, of all time.
Born For War I was a child when they took me away from my family I remember long and frosty winter and people looking hopelessly for food from this ancient time our cruel lord ordered us to look as dogs eat christian children we were standing together and cold wind was freezing our faces our blood was hot we learned to worship death we were the children of his favourite herd future warriors, future wolves our cruel lord ordered us to drink human blood ordered us to eat human flesh I got my first sword I couldnt take it up easy But i had to take it up because I would be meat for dogs I know the true code of life spartan way of life, and draconian laws I've grown as a warrior close to nature, close to roots now i'm the cruel the last of the cruel lords herd When i was a child, i knew the cruelty I learned to hate everything I loved.
To Die In Fight Cruel coldness turns my heart to ice heavy snowy clouds, covered the nightly sky Snow is falling, wind is blowing and its cold. Blood in my veins got stopped, woulded i await my last hour hen the snow covers my body when the icy ship takes me to the land of the gods.
A dream makes union with reality cold snow hurts my eyes The forest is far from here and my horse is dead I lost my last battle victory was so near I surround myself by blackness, because I wage war in the name of my land They were all talking about love, pardon, they were lying!
They called our gods devils! They brought manslaughter and plague in the name of what? In the name of god, who was a man! All my brothers and sisters, sages and kings died defending their fatherland and its true gods. Christianity burnt our temples and replaced them with their miserable cowsheds!Thousand Swords () by Graveland. Labels: Lethal. Genres: Black Metal. Songs: Intro, Blood of Christians on My Sword, Thousand Swords, The Dark Battlefield, The Time of Revenge, Born for War.. Members: Robert "Rob Darken" Fudali.