Place of Skulls

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Place of Skulls
Guitarist and singer Victor Griffin is the only permanent member of Place of Skulls
Guitarist and singer Victor Griffin is the only permanent member of Place of Skulls
General information
origin Knoxville, Tennessee, USA
Genre (s) Doom metal , white metal
founding 2000
Website www.placeofskulls.com
Current occupation
Guitar, vocals
 Victor Griffin
Drums
 Pete Campbell (2004 to 2005, 2011 to 2014, since 2016)
Electric bass
 Lee Abney (2000 to 2002, since 2007)
former members
Vocals, guitar
 Scott Weinrich (2002)
Electric bass
 Dennis Cornelius (2003 to 2007)
Electric bass
 Greg Turley (2002)
Electric bass
 Ron Holzner (2002 to 2003)
Drums
 Tim Tomaselli (2000 to 2004, 2005 to 2011, 2014 to 2016)

Place of Skulls is a doom metal band initiated by Victor Griffin in 2000 . The Pentagram guitarist is the only permanent member of the group that is counted among the most popular and important representatives of the genre with a Christian message. The music is considered to be classic Doom Metal, in which influences from blues and different styles of rock are taken up. The band receives positive feedback from the Christian rock and metal scene as well as from the non-Christian metal scene .

history

The history of Place of Skulls was shaped by several changes in the musicians involved in addition to Griffin. The history of the band is closely linked to that of Pentagram and is characterized by various personal overlaps with Pentagram. Other factors such as Griffin's alcohol addiction and his own work for Pentagram also had an impact on the continuity of the band's activity. Because of these peculiarities in the band constellation, the activity periods of Place of Skulls remained inconsistent. The first albums were released at intervals of a few months. Later works appeared at long intervals.

Career history

Prehistory and beginning time

Griffin became famous as the guitarist for Pentagram, here Griffin and darling at the 2015 Hammer of Doom .

Griffin left the doom metal band Pentagram, which he helped shape, in 1996 after the death of his father and three other relatives affected him. After this turning point, he lost control of his addiction to alcohol and other drugs . It was only when he turned to Christianity , according to Griffin, that he was able to overcome his addictive behavior. Instead of returning to his previous band, four years after leaving Pentagram, he initiated Place of Skulls, his own Doom Metal project with a religious orientation in line with his newly found spirituality. Already with the band name he referred to the biblical place of the skull Golgata and made specific reference to his faith.

The band recorded the live album Live! In their hometown of Knoxville, Tennessee in August 2000 . on. Live! Contained four old Pentagram pieces, a cover version of the title Consuming Fire by the Christian rock band Third Day and three new songs of their own. Instead of interacting with the usual contract and cooperation partners of the music industry, the album was sold directly by the group .

However, this decision did not mean a fundamental positioning, henceforth to appear as a do-it-yourself interpreter and to withdraw from the music industry. In parallel with the live album, Place of Skulls recorded a demo and contacted various music labels . The self-named demo included studio recordings of the three on Live! presented place-of-skulls pieces. The artist Frank Kozik signed the group in response to the demo for his Californian independent label Man's Ruin Records , but only a new edition of the live album was released in January 2001 about the company, which got into an economic crisis later in the year.

Even before the Live! Griffin and bassist Lee Abney appeared on Man's Ruin Records together with Pentagram musicians Bobby Liebling and Joe Hasselvander as the reformed Death Row, a previous project of Pentagram. The reunion was accompanied by joint concerts by Death Row and Place of Skulls. In Washington, DC , both bands performed such a gig with the doom metal and stoner rock groups Black Manta , Internal Void and Throttlerod . Parts of the concert were distributed in 2001 by the promotion company Doom Capital Productions, which organized the concert, in an edition limited to 100 copies as a split live album by all participating groups.

With Southern Lord

After the Man's Ruin Records label broke up in 2002 due to financial difficulties, Place of Skulls recorded a second demo with three new tracks. Griffin, Abney, Liebling and Hasselvander meanwhile decided to disband Death Row again, after which Griffin and Abney concentrated on Place of Skulls.

The demo, simply called Demo II , and the reputation of the musicians enabled the group to sign a contract with Southern Lord , the label of Sunn-O))) - and Thorr's-Hammer guitarist Greg Anderson . Demo II contained the first tracks of the album Nailed , released in 2002 via Southern Lord . The album title as well as the graphic preparation referred to the crucifixion of Jesus - a topic that was continued in subsequent publications. The lyrics carried aspects of Griffin's religious beliefs. The 7 "double A-vinyl single The Fall / Evil Seed was released from Nailed in 2002 . The album sales were supported by an American tour with Spirit Caravan .

Scott "Wino" Weinrich took part in the second Place of Skulls album With Vision

After the tour was over, the tour partners Spirit Caravan broke up due to insufficient success. Singer and guitarist Scott "Wino" Weinrich , who enjoyed high recognition in the Doom Metal scene through his participation in bands like Saint Vitus and The Obsessed , then joined Place of Skulls. For the recordings of the album With Vision , published in 2003 via Southern Lord, Weinrich and Griffin shared the task of singing. Both musicians brought in their own pieces independently of each other. Joint rehearsals, however, were rarely completed due to the physical distance and a tour promoting the album could not take place due to private obligations and the physical distance. Weinrich turned to his next project of his own, The Hidden Hand , even before With Vision was released .

Upheaval phase

After the release of With Vision , the band became restless. Instead of recording new pieces, Griffin's fellow musicians changed several times. It wasn't until 2005 that the EP Love Through Blood was released via Outlaw Recordings , which contained unreleased pieces from the Nailed recording session.

Griffin decided against a third album for Southern Lord after the relationship between the band and label fell asleep and rumors were spread to him that Southern Lord had already dropped the band without an official statement. Therefore, the third album The Black is Never Far was released in 2006 on the German Doom and Extreme Metal label Exile on Mainstream Records . The contact with the label came about during a European tour, during which Griffin met the label owner Andreas Kohl several times. Kohl and Griffin kept in touch and signed a deal for an album. The saxophonist Chastity Brown was presented as a guest musician , whose participation was mentioned as a special feature in some reviews. The Black Is Never Far has received multiple acclaim and is considered the group's darkest and most depressing album. In the years following the publication, further activities were largely absent. Occasionally Griffin even spoke of the end of the band. He later stated that the break in band activity was related to a relapse into his addiction. This endangered the continued existence of Place of Skulls in the long term.

The band line-up remained volatile and the band rarely performed. Only with Abney's re-entry did the band structure stabilize and the members successfully worked on Griffin to overcome his dependency. With As a Dog Returns a new album was released in 2010 via Giddy Up! Records, a label that closed soon after. The title is borrowed from the Book of Proverbs . In an interview with the fanzine Doom Metal Front , Griffin referred to the relapse into alcohol addiction to the full sentence "Like a dog that returns to its spit, so is a fool who repeats its stupidity."

After Griffin's return to Pentagram

In the year As a Dog Returns was released , Griffin rejoined Pentagram, which he left in 2012 to return permanently in 2014. In the meantime, Griffin recorded the In-Graved, originally planned as a solo album . The recording, made with Place-of-Skulls members and many guest musicians, was marketed in 2013 via Svart Records under the band name In-Graved. As of 2016, the album was reissued as a regular Place-of-Skulls album and included in the band's discography. The music journalist and author of the doom metal Lexicanums Aleksey Evdokimov sees the re-release of the album as the official place-of-Skulls plant as an indication that Griffin's return to Pentagram not mean the end of Place of Skulls. Despite such assessments, the group's activity remained low.

Cast history

For the first line-up of the band, Griffin, who himself appeared as a singer and guitarist, contacted former Death Row and Pentagram bassist Lee Abney. Abney and Griffin were looking for a drummer through an advertisement. The group was initially completed after a prelude by Tim Tomaselli. After the release of the debut in 2002 and the subsequent tour with Spirit Caravan in the same year, Abney left the group and was initially replaced by Griffin's nephew Greg Turley, who had also played at Pentagram.

Pentagram bassist and Griffin's nephew Greg Turley was a brief member of Place of Skulls

After Spirit Caravan had disbanded due to insufficient success, Weinrich temporarily joined Place of Skulls as the second singer and guitarist. Griffin and Weinrich, who knew each other from the Doom Metal scene and were on friendly terms, had spoken more often in advance about a possible cooperation. According to Weinrich's new situation, Griffin offered him to take part in Place of Skulls as the second singer and guitarist. Weinrich agreed, but the cooperation did not last. During rehearsals and recordings, the musicians found that the physical distance between Maryland , Weinrich's home, Washington DC, Turley's home, and Knoxville, Griffin's and Tomaselli's home, inhibited the band. Weinrich turned to his next project of his own, The Hidden Hand. Turley, who would later join Pentagram again, also left the band.

In the summer of 2002, after Turley and Weinrich left, Griffin presented Trouble bassist Ron Holzner as a new member of the band. Several appearances were made with him, but there was no joint publication. Holzner left the band without a joint publication and in addition to the bassist Tomaselli left the band in the meantime. He was replaced for one year by Peter Campell of Sixty Watt Shaman and The Mighty Nimbus . However, Tomaselli soon returned to the group. In the following years both alternated as drummers at irregular intervals. Abney took part in the recordings for the 2006 album The Black Is Never Far without returning to the group. Tomaselli, on the other hand, was already part of the band again at this point. Dennis Cornelius from Revelation took on the role of Place of Skulls bass player , Abney only appeared as a guest musician. Cornelius left the group in 2007 and Abney returned to continue playing bass. When As a Dog Returns was released in 2010, Abney and Tomaselli belonged to the band again in addition to Griffin. Tomaselli and Campell alternated as drummers of Place of Skulls in the following years.

Work and effect

Discography

Studio albums

  • 2002: Nailed (Southern Lord Records)
  • 2003: With Vision (Southern Lord Records)
  • 2006: The Black is Never Far (Exile on Mainstream Records)
  • 2010: As a Dog Returns (Giddy Up! Recordings)
  • 2013: In-Graved (Svart Records, released as In-Graved in 2013, released as Place-of-Skulls album in 2016)

EPs

  • 2005: Love Through Blood (Outlaw Recordings)

Singles

  • 2002: The Fall / Evil Seed (Southern Lord Records)

Split releases

  • 2001: Death Row Reunion (With Black Manta, Internal Void, Death Row and Throttlerod, Doom Capital Productions)

Demos

  • 2000: Place of Skulls (self-published)
  • 2001: Demo II (self-published)

Live albums

  • 2000: Live (self-published, re-released 2001 via Man's Ruin Records)

The music of Place of Skulls is considered to be classic Doom Metal with influences from blues , stoner , psychedelic , hard or blues rock, depending on the release . Griffin's spiritual and religious texts are considered constant in the group's content. The music press and the Christian media mostly received the group's publications positively, with different focuses in their reviews depending on the medium.

content

Most of Griffin's lyrics are of a Christian religious nature. Griffin describes the band as an expression of his religious convictions. None of the songs are missionary and he does not want to assign his texts to a specific Christian teaching, as he is rather critical of the organized churches. He admits that some of the lyrics can be interpreted as missionary . The texts should, however, rather persistently address questions about " God , faith and the like". Pieces like Though He Slay Me , Breath of Life or Dayspring deal directly with his relationship with God and the characteristics Griffin named as his weaknesses . Accordingly, he describes the ongoing recourse to Jesus and the Bible as a reflection and expression of his faith, feeling and thinking. Some pieces like He's God still tend towards the Christian genre of praise and worship . In some songs parts of the text are quoted from the Bible , especially for the lyrics of As a Dog Returns and Love Through Blood , Griffin resorted to psalms .

Despite interview statements in which Griffin shows a negative attitude towards homosexuality and abortion , such content can hardly be found in the plays of Place of Skulls. With the anti-abortion lyrics to The Maker and his explanations for this song, Griffin positioned himself close to the right to life movement . In an interview with the fanzine Doom Metal Front, however, he pointed out that the topic should not be viewed from an instructive perspective, but from a personal experience. So he wrote the text from experience as a participant. For this he stated that the freedom of choice on a political level as the pro-choice to protege movement understand.

layout

For the cover design of the album With Vision , a section of the painting The Apparition by Gustave Moreau from 1876 was used. A legend has been added to the picture, which goes into the story of Salome and John the Baptist .

The basic Christian idea is also reflected in the design of the sound carriers. References to Jesus and especially the Passion are common motifs on Place-of-Skulls sound carriers. Other topics that play a similarly important role in Griffin's work and which he has Christian connotations, in particular guilt, wrongdoing and atonement, are also taken up. For example, With Vision was designed with a section of the painting The Apparition of Gustave Moreau and Love Through Blood with a section of one of Gustave Doré's illustrations for the Divine Comedy . Both pictures have been changed in color and the information about the band name and album title have been added.

style

The music of Place of Skulls is assigned to classic Doom Metal, in continuation of the genre initiators Black Sabbath and Pentagram. Daniel Bukszpan describes the music in his book The Encyclöpedia öf Heavy Metal as "100 percent old-school Sabbath-worshiping Doom Metal". The Canadian music journalist and author of various metal-specific non-fiction books Martin Popoff also sees the music of Place of Skulls as Black Sabbath Doom Metal in a direct pentagram tradition.

Occasionally, this categorization is expanded to include additional style terms, in particular psychedelic and stoner rock. According to the personal proximity, comparisons with Pentagram and Death Row are just as often sought as those with Black Sabbath, in order to put the style presented in a relationship to other representatives of the genre. Comparisons with other stoner rock and doom metal representatives such as Saint Vitus, Cathedral , Trouble, Kyuss and The Obsessed are equally tried.

The overall sound of the group is described as "earthy, robust" and sometimes "brutal". The music is close to the blues, especially with its earthy sound . In a review for the webzine Metalreviews, the neologism "Bluesdoom" is formed to distinguish this proximity from other Doom Metal sub-style terms such as Funeral Doom , Death Doom or Stoner Doom . The blues components are particularly noticeable in Griffin's singing as well as in his guitar playing. He himself emphasizes a personal affinity for Chicago and Delta blues , which increasingly flowed into the music of Place of Skulls, without leaving the Doom Metal genre behind. Occasional increases in tempo also set the music apart from other performers of the genre.

The style remains dominated by a fuzzy grooving guitar playing throughout the group's releases . Griffin's game is considered slow, unique, and influential beyond his involvement with Place of Skulls. The guitar sound of classical Doom Metal, which he helped shape through his work for Death Row and Pentagram, is accordingly an essential part of the music of Place of Skulls. The guitar playing varies between the booming Black Sabbath riffing of deeply tuned guitars, some of which even offer direct Black Sabbath quotes, occasional acoustic interludes, references to hard rock from the 1970s to blues rock and blues. Griffin confirms such assessments and names Cream , Steppenwolf , Alice Cooper , Blue Cheer , Jimi Hendrix and Led Zeppelin as important influences, especially in the recordings of the album The Black is Never Far , which is said to be closest to blues and hard rock. came to fruition. In contrast, the group with Weinrich's participation was attested to have a higher proportion of psychedelic rock both in guitar playing and in singing.

The Ox fanzine journalist André Bohnensack puts Griffin's singing in the direct tradition of the Pentagram singer Bobby Liebling and assumes in his review of the album Nailed that Griffin was guided by this. Andreas Stappert from Rock Hard sees the vocals rather "between Scott 'Wino' Weinrich (Spirit Caravan) and Eric Wagner (Trouble)", but also calls it soulful and very emotional. Other reviews praise the singing as powerful and smoky-melancholy. Griffin sings with a clear and rather high voice. Evdokimov attests that it is recognizable and has a hearty sound. Based on this assessment, Evdokimov sees Griffin's singing as an ideal complement to the music played by Place of Skulls. Eduardo Rivadavia, on the other hand, attributes him to only mediocre talent in a review written for Allmusic . In contrast, he describes Weinrich's voice as "technically lousy, but endowed with personality". Weinrich performs his vocals on With Visions in a dark and rough voice.

The rhythm section, which has been made up differently over the years, is always attested to having excellent craftsmanship. She is "inconspicuously grooving [...]" for the song. Bass and drums support the music without putting themselves in the foreground of the music. The rhythm remains mainly slow and is occasionally tightened a little. Drumming is said to be inventive, grooving and the music driving. The bass game, on the other hand, is considered punchy, thundering and solid.

reception

Besides Trouble, Place of Skulls is one of the most important doom metal bands with a Christian message. The music is highly valued by reviewers of the metal scene, sometimes in contrast to the religious concept. Occasionally, reviewers, such as Phil Freeman in his As-a-Dog-Returns review for Allmusic, point out that the clearly religious message “does not prevent anyone from enjoying the music.” André Bohnensack also differentiates between the Ox fanzine Music, the transmitted ideology and the convictions of Griffin, which went beyond the belief in Christianity with the presentation of links to conspiracy theories and homophobic web radio presenters on the website of the band as well as corresponding statements in interviews. Despite moral concerns, he praised the group's work.

In their disputes with the group, reviewers of Christian media particularly praise the texts and describe some as suitable for worship . For them the work of the band is a special expression of a firm belief. In particular, the EP Love Through Blood and the album As a Dog Returns are praised for their lyrical “uncompromising” approach. For As a Dog Returns , the Bible-based texts, which sometimes directly quote psalms, are highlighted. The reviewer Andrew Rockwell assumes in his review of the EP Love Through Blood that Southern Lord deleted the four pieces contained on the EP because of uncompromising Christian texts from the album Nailed .

Most music press reviews, on the other hand, focus on assessing the quality of the music and praise the Doom Metal played by the band, while barely examining the content.

Götz Kühnemund described Nailed in Rock Hard 2003 as "the best Doom debut in a long time". Bohnensack compared Nailed with Griffin's previous band involvements and saw it as an album that "fits seamlessly into the overall work of Victor Griffin". Evdokimov calls the album a good Doom Metal album, but the Animals cover Don't Let Me Be Misunderstood is “the only surprise” on Nailed . According to Josh Serba, who reviewed the album for Allmusic, all of the songs on the album are "solid and memorable", sometimes even "remarkable".

In the reception of the album With Vision , Weinrich's participation, here live with Saint Vitus 2011, is often highlighted. Even in retrospect, the album was rated by reviewers as a Weinrich album rather than a Place of Skulls album.

With Vision, on the other hand, is seen by Kühnemund as a variant of the Weinrich-influenced bands Saint Vitus, The Obsessed and Spirit Caravan. Bohnensack describes the album in a similar way: “Despite […] undisputed qualities”, With Vision is “more of a collection of independent Weinrich and Griffin songs than a homogeneous album.” Previously, he described the album as “an excellent old-fashioned Doomplatte”, which Debut is similar. Evdokimov describes the album as a successful cooperation between the two musicians, which, however, cannot maintain the quality of popular releases by both in other groups. Despite such restrictions, the Doom Metal special edition of the music magazine recommends Deaf Forever With Vision as a successful album with Weinrich's participation.

While As a Dog Returns is preferred by Christian media, The Black Is Never Far is considered the best place of skulls album by most music press reviews. A review written for Webzine Metal.de concludes with the assessment that it is “a must for those doomers and those who think outside the box who rely on intelligent songwriting.” Evdokimov and Popoff make the album the best of the Group explained. Evdokimov describes The Black Is Never Far as both the darkest and most depressing of the group. He values ​​the use of a saxophone as a special feature in classic Doom Metal. In Deaf Forever, The Black is Never Far is counted among the 150 most important Doom Metal albums. The 2006 album was also referred to in the Ox-Fanzine as the group's highlight to date. Occasionally, reviewers judged The Black Is Never Far more negatively and criticized Weinrich's departure. Rivadavia viewed it as a good but unimportant album that would "inevitably be forgotten in an already overcrowded Doom scene".

The on The Black Is Never Far following As a Dog Returns is this against designated by the music press as a solid album in the genre. Occasionally, the album is said to have more smoothness in production and a little more courage in style due to a modernized sound. As a special album in the group's oeuvre, however, the album is highlighted by reviewers of Christian rock music. They respond to the lyrics in particular and praise the album's content and message. The album In-Graved , which was only included in the band's discography in 2016 , is viewed as a continuation of the musical and content- related development presented on As a Dog Returns . However, the album is hardly given any special status in the band's discography.

audience

The group's music is primarily received by a metal audience. The band performed at various metal festivals , especially at events that specialize in Doom Metal. Place of Skulls presented itself at the German Hammer of Doom 2010, the Dutch Roadburn Festival 2011 and the Maryland Doom Fest 2016. The labels that Place of Skulls worked with are also assigned to the metal scene, especially the Doom metal scene . Interviews and reviews can mostly be found in music magazines that specialize in metal and hard rock, including Rock Hard , Deaf Forever, and Fanzine Doom Metal Front .

In the metal scene there is little discussion of Griffin's lyrics and ideals. Rather, as some reviewers point out, the focus is on music. Griffin's declaration that his texts only express his personality and that he does not want to proselytize anyone corresponds to an attitude that is common in the scene. Political or religious dogmatism , which makes music a mere vehicle for the message, is largely rejected by the scene. In addition, the preoccupation with song lyrics is considered to be of little importance in the scene. Transported content can even be contrary to one's own convictions without affecting the popularity of the music.

literature

  • Daniel Bukszpan: The Encyclöpedia öf Heavy Metal . Sterling Publishing Co., Inc., 2012, ISBN 978-1-4027-9230-4 , pp. 244 f . (English).
  • Aleksey Evdokimov: Doom Metal Lexicanum . Cult Never Dies, London 2017, ISBN 978-0-9933077-6-8 , Place of Skulls, pp. 187 f . (English).
  • Garry Sharpe-Young : AZ of Doom, Goth & Stoner Metal . Rockdetector, 2003, ISBN 1-901447-14-6 , pp. 322 (English).
  • Martin Popoff , David Perri: The Collector's Guide of Heavy Metal Volume 4: The '00s . Collectors Guide Ltd, Burlington, Ontario, Canada 2011, ISBN 978-1-926592-20-6 , pp. 386 f . (English).

Web links

Individual evidence

  1. ↑ Aleksey Evdokimov: Doom Metal Lexicanum . Cult Never Dies, London 2017, ISBN 978-0-9933077-6-8 , Place of Skulls, pp. 187 f . (English). Place of Skulls Interview: Victor Griffin on As a Dog Returns, Spirituality, The New Pentagram Album, Playing Roadburn, Why Music Should be More Than Just Heavy Riffs, and Much More. The Obelisk, December 23, 2010; archived from the original on January 3, 2011 ; accessed on March 2, 2018 .
  2. ↑ Jeff de los Santos: Place Of Skulls Interview. Untombed, September 29, 2010, archived from the original on September 28, 2017 ; accessed on March 4, 2018 .
  3. ↑ a b c Garry Sharpe-Young: AZ of Doom, Goth & Stoner Metal . Rockdetector, 2003, ISBN 1-901447-14-6 , pp. 322 (English).
  4. ↑ a b c d e f g h i j k l m n o p q r s Aleksey Evdokimov: Doom Metal Lexicanum . Cult Never Dies, London 2017, ISBN 978-0-9933077-6-8 , Place of Skulls, pp. 187 f . (English).
  5. ^ William York: Place of Skulls. Allmusic, 2001, archived from the original on June 25, 2015 ; accessed on March 2, 2018 . Aleksey Evdokimov: Doom Metal Lexicanum . Cult Never Dies, London 2017, ISBN 978-0-9933077-6-8 , Place of Skulls, pp.
     187 f . (English).
  6. ^ William York: Place of Skulls. Allmusic, 2001, archived from the original on June 25, 2015 ; accessed on March 2, 2018 . Garry Sharpe-Young: AZ of Doom, Goth & Stoner Metal . Rockdetector, 2003, ISBN 1-901447-14-6 , pp.
     322 (English).
  7. ↑ a b c d e f André Bohnensack: Place of Skulls: Heaven and Hell. OX fanzine, September 2006, archived from the original on October 24, 2013 ; accessed on March 2, 2018 .
  8. ↑ a b Daniel Bukszpan: The Encyclöpedia öf Heavy Metal . Sterling Publishing Co., Inc., 2012, ISBN 978-1-4027-9230-4 , pp. 244 f .
  9. ↑ a b c d Place of Skulls Interview: Victor Griffin on As a Dog Returns, Spirituality, The New Pentagram Album, Playing Roadburn, Why Music Should be More Than Just Heavy Riffs, and Much More. The Obelisk, December 23, 2010; archived from the original on January 3, 2011 ; accessed on March 2, 2018 .
  10. ↑ a b Sven Mihlan: Place of Skulls . In: Doom Metal Front . December 2010, p. 5 .
  11. ↑ Place of Skulls Interview: Victor Griffin on As a Dog Returns, Spirituality, The New Pentagram Album, Playing Roadburn, Why Music Should be More Than Just Heavy Riffs, and Much More. The Obelisk, December 23, 2010; archived from the original on January 3, 2011 ; accessed on March 2, 2018 . André Bohnensack: Place of Skulls: Heaven and Hell. OX fanzine, September 2006, archived from the original on October 24, 2013 ; accessed on March 2, 2018 .
  12. ↑ Sven Mihlan: Place of Skulls . In: Doom Metal Front . December 2010, p. 5 f .
  13. ^ Dane Train: Place of Skulls: As a Dog Returns. Metalstorm, September 10, 2010; archived from the original on January 2, 2011 ; accessed on March 4, 2018 .
  14. ^ A b c Jacob Folk: Place of Skulls. Christian Molten Metal-Bands, 2010, archived from the original on March 5, 2018 ; accessed on March 4, 2018 .
  15. ↑ Sven Mihlan: Place of Skulls . In: Doom Metal Front . December 2010, p. 6 .
  16. ↑ Aleksey Evdokimov: Doom Metal Lexicanum . Cult Never Dies, London 2017, ISBN 978-0-9933077-6-8 , Place of Skulls, pp. 187 f . (English). André Bohnensack: Place of Skulls: Heaven and Hell. OX fanzine, September 2006, archived from the original on October 24, 2013 ; accessed on March 2, 2018 .
  17. ↑ Martin Popoff, David Perri: The Collector's Guide of Heavy Metal Volume 4: The '00s . Collectors Guide Ltd, Burlington, Ontario, Canada 2011, ISBN 978-1-926592-20-6 , pp. 386 f .
  18. ^ André Bohnensack: Place of Skulls: The Black Is Never Far. OX fanzine, March 2006, archived from the original on March 16, 2016 ; accessed on March 2, 2018 . André Bohnensack: Place of Skulls: Nailed. OX fanzine, June 2002, archived from the original on March 17, 2016 ; accessed on March 2, 2018 . Stendahl: Place of Skulls: As a Dog Returns. Metal.de, December 12, 2010, archived from the original on March 5, 2018 ; accessed on March 2, 2018 .
  19. ^ A b c William York: Place of Skulls. Allmusic, 2001, archived from the original on June 25, 2015 ; accessed on March 2, 2018 .
  20. ↑ a b c Stendahl: Place of Skulls: As a Dog Returns. Metal.de, December 12, 2010, archived from the original on March 5, 2018 ; accessed on March 2, 2018 .
  21. ↑ a b Josh Serba: Place of Skulls: Nailed. Allmusic, 2001, archived from the original on February 17, 2016 ; accessed on March 5, 2018 .
  22. ↑ a b Stendahl: Place of Skulls: The Black Is Never Far. Metal.de , June 24, 2007, archived from the original on March 5, 2018 ; accessed on March 2, 2018 .
  23. ^ André Bohnensack: Place of Skulls: Heaven and Hell. OX fanzine, September 2006, archived from the original on October 24, 2013 ; accessed on March 2, 2018 . Jacob Folk: Place of Skulls. Christian Molten Metal-Bands, 2010, archived from the original on March 5, 2018 ; accessed on March 4, 2018 .
  24. ↑ Alex: Place of Skulls: The Black Is Never Far. Metalreviews, September 27, 2006, archived from the original on March 17, 2017 ; accessed on March 5, 2018 .
  25. ↑ a b c d André Bohnensack: Place of Skulls: With Vision. OX fanzine, December 2003, archived from the original on March 23, 2016 ; accessed on March 2, 2018 .
  26. ↑ Alex: Place of Skulls: The Black Is Never Far. Metalreviews, September 27, 2006, archived from the original on March 17, 2017 ; accessed on March 5, 2018 . Stendahl: Place of Skulls: The Black Is Never Far. Metal.de , June 24, 2007, archived from the original on March 5, 2018 ; accessed on March 2, 2018 . Aleksey Evdokimov: Doom Metal Lexicanum . Cult Never Dies, London 2017, ISBN 978-0-9933077-6-8 , Place of Skulls, pp.

     187 f . (English). Place of Skulls: As a Dog Returns. The Obelisk, August 25, 2010; archived from the original on June 10, 2017 ; accessed on March 5, 2018 . Andrew Rockwell: Place Of Skulls: Love Through Blood. Angelic Warlord, 2006, archived from the original on January 21, 2017 ; accessed on March 4, 2018 .
  27. ↑ Aleksey Evdokimov: Doom Metal Lexicanum . Cult Never Dies, London 2017, ISBN 978-0-9933077-6-8 , Place of Skulls, pp. 187 f . (English). Stendahl: Place of Skulls: The Black Is Never Far. Metal.de , June 24, 2007, archived from the original on March 5, 2018 ; accessed on March 2, 2018 . Andrew Rockwell: Place Of Skulls: Love Through Blood. Angelic Warlord, 2006, archived from the original on January 21, 2017 ; accessed on March 4, 2018 .
  28. ↑ Music for Men . In: Rock Hard . No. 227 , April 2006, ISSN  1437-8140 .
  29. ^ André Bohnensack: Place of Skulls: With Vision. OX fanzine, December 2003, archived from the original on March 23, 2016 ; accessed on March 2, 2018 . Götz Kühnemund: Place of Skulls: With Vision. Rock Hard, November 2003, archived from the original on March 5, 2018 ; accessed on March 2, 2018 . From Saul to Paul . In: Rock Hard . No.

     201 , February 2004, ISSN  1437-8140 .
  30. ^ A b André Bohnensack: Place of Skulls: Nailed. OX fanzine, June 2002, archived from the original on March 17, 2016 ; accessed on March 2, 2018 .
  31. ↑ a b Andreas Stappert: Place of Skulls: Nailed. Rock Hard, June 2002, archived from the original on March 7, 2018 ; accessed on March 5, 2018 .
  32. ↑ Dennis Otto: Place Of Skulls: As a Dog Returns. Metal Inside, September 2010, archived from the original on March 5, 2018 ; accessed on March 5, 2018 .
  33. ^ A b Eduardo Rivadavia: Place of Skulls: The Black Is Never Far. Allmusic, 2006, archived from the original on July 8, 2012 ; accessed on March 3, 2018 .
  34. ^ André Bohnensack: Place of Skulls: With Vision. OX fanzine, December 2003, archived from the original on March 23, 2016 ; accessed on March 2, 2018 . Stendahl: Place of Skulls: The Black Is Never Far. Metal.de , June 24, 2007, archived from the original on March 5, 2018 ; accessed on March 2, 2018 .
  35. ^ Place of Skulls: As a Dog Returns. The Obelisk, August 25, 2010; archived from the original on June 10, 2017 ; accessed on March 5, 2018 . Stendahl: Place of Skulls: The Black Is Never Far. Metal.de , June 24, 2007, archived from the original on March 5, 2018 ; accessed on March 2, 2018 . Andrew Rockwell: Place Of Skulls: Love Through Blood. Angelic Warlord, 2006, archived from the original on January 21, 2017 ; accessed on March 4, 2018 .
  36. ↑ Andrew Rockwell: Place Of Skulls: As A Dog Returns. Angelic Warlord, 2010, archived from the original on November 11, 2016 ; accessed on March 4, 2018 . Andrew Rockwell: Place Of Skulls: Love Through Blood. Angelic Warlord, 2006, archived from the original on January 21, 2017 ; accessed on March 4, 2018 .
  37. ^ Place of Skulls: As a Dog Returns. The Obelisk, August 25, 2010; archived from the original on June 10, 2017 ; accessed on March 5, 2018 .
  38. ↑ Stendahl: Place of Skulls: As a Dog Returns. Metal.de, December 12, 2010, archived from the original on March 5, 2018 ; accessed on March 2, 2018 . Alex: Place of Skulls: The Black Is Never Far. Metalreviews, September 27, 2006, archived from the original on March 17, 2017 ; accessed on March 5, 2018 . Place of Skulls: As a Dog Returns. The Obelisk, August 25, 2010; archived from the original on June 10, 2017 ; accessed on March 5, 2018 .
  39. ^ André Bohnensack: Place of Skulls: Heaven and Hell. OX fanzine, September 2006, archived from the original on October 24, 2013 ; accessed on March 2, 2018 . Martin Popoff, David Perri: The Collector's Guide of Heavy Metal Volume 4: The '00s . Collectors Guide Ltd, Burlington, Ontario, Canada 2011, ISBN 978-1-926592-20-6 , pp.
     386 f .
  40. ^ A b Phil Freeman: Place of Skulls: As a Dog Returns. Allmusic, 2010, archived from the original on June 27, 2015 ; accessed on March 2, 2018 .
  41. ^ André Bohnensack: Place of Skulls: The Black Is Never Far. OX fanzine, March 2006, archived from the original on March 16, 2016 ; accessed on March 2, 2018 . André Bohnensack: Place of Skulls: Heaven and Hell. OX fanzine, September 2006, archived from the original on October 24, 2013 ; accessed on March 2, 2018 .
  42. ↑ Andrew Rockwell: Place Of Skulls: As A Dog Returns. Angelic Warlord, 2010, archived from the original on November 11, 2016 ; accessed on March 4, 2018 .
  43. ↑ Andrew Rockwell: Place Of Skulls: Love Through Blood. Angelic Warlord, 2006, archived from the original on January 21, 2017 ; accessed on March 4, 2018 .
  44. ^ A b Götz Kühnemund: Place of Skulls: With Vision. Rock Hard, November 2003, archived from the original on March 5, 2018 ; accessed on March 2, 2018 .
  45. ^ André Bohnensack: Place of Skulls: The Black Is Never Far. OX fanzine, March 2006, archived from the original on March 16, 2016 ; accessed on March 2, 2018 .
  46. ↑ Andreas Stappert: The History of Doom . In: Deaf Forever . November 2014, p. 19 .
  47. ↑ Aleksey Evdokimov: Doom Metal Lexicanum . Cult Never Dies, London 2017, ISBN 978-0-9933077-6-8 , Place of Skulls, pp. 187 f . (English). Martin Popoff, David Perri: The Collector's Guide of Heavy Metal Volume 4: The '00s . Collectors Guide Ltd, Burlington, Ontario, Canada 2011, ISBN 978-1-926592-20-6 , pp.
     386 f .
  48. ↑ Editor: 100 other plates from the slow-motion universe, you should know: . In: Deaf Forever . November 2014, p. 37 .
  49. ↑ Andrew Rockwell: Place Of Skulls: As A Dog Returns. Angelic Warlord, 2010, archived from the original on November 11, 2016 ; accessed on March 4, 2018 . Jacob Folk: Place of Skulls. Christian Molten Metal-Bands, 2010, archived from the original on March 5, 2018 ; accessed on March 4, 2018 .
  50. ↑ Shows & Tour Dates. Place of Skulls, Sep 7, 2011; Archived from the original on April 12, 2012 ; accessed on March 19, 2018 . Live Review: Maryland Doom Fest 2016 Night Three. The Obelisk, June 20, 2016, archived from the original on June 10, 2017 ; accessed on March 19, 2018 .
  51. ↑ Phil Freeman: Place of Skulls: As a Dog Returns. Allmusic, 2010, archived from the original on June 27, 2015 ; accessed on March 2, 2018 . André Bohnensack: Place of Skulls: The Black Is Never Far. OX fanzine, March 2006, archived from the original on March 16, 2016 ; accessed on March 2, 2018 . André Bohnensack: Place of Skulls: Heaven and Hell. OX fanzine, September 2006, archived from the original on October 24, 2013 ; accessed on March 2, 2018 .
  52. ↑ Sebastian Berndt: God hates the disciples of lies . An experiment about metal and Christianity: Metal as a social phenomenon of time with ethical and religious implications. tredition, Hamburg 2012, ISBN 978-3-8472-7090-4 , p. 163 .
  53. ^ Frank Schäfer: Notes on Metal . In: Rolf F. Nohr, Herbert Schwaab (Ed.): Metal Matters . Heavy metal as culture and world. Lit-Verlag, Münster 2011, ISBN 978-3-643-11086-2 , p. 23-37. here p. 36 f .
This article was added to the list of excellent articles on May 22, 2018 in this version .