Grave Digger
Knights of the Cross

November 27, 1095. Pope Urban II holds a council in Clermont to respond to the letter sent by Alexios Komnenos, then Emperor of Byzantium, asking for help to repel the Turks, who are now at the gates of the city, leaving the bodies of Christian pilgrims behind. "In the name of God, I implore you to bring all soldiers faithful to Christ. If you come, you will receive the rightful reward in heaven above; if you do not come, God's punishment will fall on you." Threats used through faith, threats well hidden behind words, covered with God's forgiveness, but that instilled the right fear in Christians and the Pope. At the famous cry of “Dieu li volt!” or “God wills it!”, European soldiers from all over were ready in less than a year to set out for the First Crusade, with the intent to liberate the Holy Sepulcher and establish a defensive kingdom towards Christian places, primarily Jerusalem.

But allow me now to take a leap of almost nine centuries. In mid-80s Germany, the Grave Digger were born, a promising power-heavy metal band that, after four underwhelming albums, both due to absolutely pathetic promotion and failing support tours, decided to disband at the end of 1987. They would reform in 1993, releasing “The Reaper” and “Heart Of Darkness”, two albums that relaunched them immensely on the global metal scene. But it was during the period from '96 to '99 that the gravediggers found the much-desired fame. Yes, because in a time of crisis for the genre, the Digger were probably among the few to withstand the impact and keep their sound unchanged. In '96, they released “Tunes Of War”, an album centered on the Scottish struggle for Independence, in '98 “Knights Of The Cross”, focused on the First Crusade and the Order of the Templars, and in '99 “Excalibur”, centered on the life of King Arthur. The album I will review today is the central one, “Knights Of The Cross”, where Boltendahl and associates, as mentioned, narrate the bloody First Crusade and the formation and downfall of the Order of the Templars, one of the most mysterious organizations ever, probably. With these albums, Grave Digger will probably not achieve the much-deserved success, but above all an absolute maturation both musically and in songwriting.

After the short intro “Deus Lo Vult”, which introduces us to a journey, a journey into the past that we will undertake to relive the origins, the rise, and fall of the Templars, the title track follows, opening in the most appropriate way for Grave Digger. Heavy riffs, pure headbanging, but without setting aside musicality. Boltendahl's harsh and vitriolic voice narrates the preparations for the Crusade, it's the end of the eleventh century, the pope represents God's will, and everything he says is law. On their way to liberate the Holy Land, crusaders and Templars spare no one, blinded by that forgiveness of sins they will receive as a reward from God, the eternal bliss for having saved His land. But in what world can bloodshed lead to Paradise? They realize this too late, so great is their thirst for blood, so much the blood of their own brothers on their legs. Effective choirs, surely to be repeated live, and a drum that takes no prisoners. “Monks Of War” follows, one of the fastest tracks on the album, where Stefan Arnold's double pedal pounds as if there is no tomorrow. Here the gravediggers depict the figure of Hugh de Payens, who is said to have been the first Grand Master of the Templar Order, founded solely to defend the places where Christ lived, following a monastic path but not refusing battle and bloodshed. With “Heroes Of This Time”, we have the first semi-ballad where Boltendahl initially sings cleanly the first two verses, but then returns to his normal voice. A gripping chorus that will stick in your mind and be hard to get out, one of the best solos of the album, and what results is obviously, if not, an excellent piece? Jerusalem is finally in Christian hands, the pagans have fled, and the church bells never stop ringing to celebrate the crusaders, heroes of that time. But what was the cost of Paradise, if not blood? “Fanatic Assassins” appears as one of the weakest tracks on the album, probably, but still manages to make its mark. Perhaps too many stops during the verses, if the main riff had continued throughout the song, it might have been said that this is the best track. This piece narrates the dissident Ismaili sect led by the “Old Man of the Mountain”, also described in Marco Polo's “Il Milione”. Such was the devotion of the soldiers to their leader that the song narrates the episode where the old man of the mountain orders one of his soldiers to jump off the walls, and the latter obeys the order without uttering a word. Faced with “Lionheart”, we can say we have the best track on the album, where an overwhelming riff and not inclined to stop, leads us to an explosion of heavy metal directed at the face, and where we find a strange chorus at first impact, certainly to be appreciated after a couple of listens. Richard the Lionheart, this is the protagonist of the song, a successful and famous warrior at the time of the Crusade, but also kind and humble, and for this very appreciated by his subjects, who saw in him the true hero of the Crusade. Unfortunately, Richard died from an unfaithful arrow that struck him dead on the spot. “The Keeper Of The Holy Grail” begins with a slow arpeggio and then flares into the second semi-ballad of the album, less successful in my opinion, but still effective. Probably this is one of the few tracks where Boltendahl's voice can be appreciated for its roughness, not understandable by everyone. Many relics were found by the Templars during the Crusades, but certainly, the most coveted one was the Holy Grail, the chalice from which the son of God drank during the last supper. Endowed with magical powers, it was sought after again and again during the battles but was never found. With “Inquisition” we are faced with a great track, where chilling choruses make us imagine the torture that the Templars suffered during the Inquisition trials. Having become so powerful as to become national treasurers, bankers, and more, they aroused the envy of Philip the Fair, who had them arrested and condemned for blasphemy. There was only one way to save themselves, which was to confess. Therefore, to tell lies, say they had sinned, not fought in the name of God, but for their own gain or worse for Mohammed. Many perished, determined not to renounce their glory gathered in battle, and above all their faith.

“Baphomet” presents itself with a great bass line and a bone-crushing song, with great riffs, and with a chorus that seems to recall the confessions of the Templars, forced to renounce everything, it is told spitting on the Cross, and to wear a red cord that had been rubbed on a statuette where it is said that the Templars worshiped the devil. “Over The Sea” seems like a second version of “Monks Of War”, apparently slower, but containing more or less the same riff. I find it one of the weaker songs of the album, excluding the chorus, which, though, one must say, is also slow. It is said that the Templars who fled in front of the Inquisition, escaped overseas, even reaching Central America, which is a fascinating anecdote. Perhaps a legend, but there is nothing wrong with believing. “The Curse Of Jacques” is, in my opinion, the best track of the album, full of pathos and energy, but also of emotion, where a masterful bass leads the piece excellently. In this track, it tells the story of the last Grand Master of the Templars, Jacques De Molay who, after knowing that all his brothers were safe, retracted his confession, and for this, he was burned at the stake. It is said that during the burning, he cursed Pope Clement V and Emperor Philip, shouting to them that they would not live long enough to surpass the year. Interestingly, indeed, Philip died during a hunting party struck by a stroke, in November of 1314, while Clement V died a month after Jacques's death, under mysterious circumstances. The final track is “The Battle Of Bannockburn”, a track introduced by bagpipes as the intro also was in “Tunes Of War”, then flaring into a great piece typically Grave Digger, with well-executed choruses. At the Battle of Bannockburn, fought in 1314 between the Scots and the English, fundamental for Scottish independence, it is said that from the atop the hills, a group of Templar knights rose against the English, defeating them and thereby guaranteeing independence for Scotland. Many knights of the Order indeed found refuge after escaping the trials of Philip the Fair, precisely in Scotland.

What can I say? An album that studies one of the bloodiest chapters in history, played excellently without ever falling into the ridiculous. Personally, I also consider myself a bit biased, loving these types of albums, where the theme of important and controversial historical facts is tackled, with a final curiosity that makes us ask “How the hell did they manage it?” I recommend this album to all people who love classic metal, don't be too scared by Boltendahl's voice if you are used to cleaner voices of course, and to all the history lovers, like me.