author: Guy
ALIX (ita) / PLACE OF SKULLS (usa) in Sojo, October 16th
Click to read interview with VICTOR GRIFFIN (Place of Skulls) .
CONCERT REVIEW
As suggested, Place of Skulls is something entirely different than Alix. Though the band has
only been around for half a decade, they’re treated with a reverence that’s usually reserved for
the greats. Of course, this has everything to do with the presence of Victor Griffin, who’s played
with cult faves Death Row and doom pioneers Pentagram for over sixteen years. Place of Skulls was
formed a few years ago by Griffin, drummer Tim Tomaselli and bass player Lee Abney
(also ex-Death Row). There have been some line-up changes throughout the years, but current bass
player Dennis Cornelius was born to do this job. Unfortunately, drummer Tomaselli decided a few
weeks before the European tour that he longer wanted to be part of it anymore and for a while it
seemed that the band’s first tour might be cancelled. Luckily, they came up with a replacement
in the guise of Pete Campbell (The Might Nimbus, Sixty Watt Shaman) and if his drumming during
yesterday’s show was indication, that guy is one bad-ass monster. Because they literally
started rehearsing a week before they left, the band didn’t have enough time to deliver a 2-3 hour
show (and that’s what they would’ve loved!), but as far as I can tell, Campbell might’ve been their
drummer for years. His style is probably more stoner-oriented than the classic rock-stylings of
Tomaselli, but he delivered a forceful foundation for the crushing tandem of Cornelius and Griffin.
The sound-check had already blown most of the attending people away and when they kicked off the set,
the wall of sound so immense that I bet a lot of people immediately had to think of The Hidden Hand’s
show on the 7th of July. While you could say Wino’s band has been exploring more experimental and
even heavier territory, the similarities between the bands are quite striking. They’re not only
led by a legendary (well, in the scene) guitar hero with quite a story behind him, but Cornelius’
act was almost as hyper as Falkinburg’s in The Hidden Hand. Griffin’s vocals and heavy riffage are
definitely reminiscent of Wino’s, but more important is that seeing these bands play live is an
altogether different experience than listening to their albums. Nailed and With Vision
are fine albums, but on a small stage with a good sound set-up, the band’s doom rock is so much more
exciting. A lot of Griffin’s songs are fairly traditional, continuing the legacy of Pentagram and
Black Sabbath (Vol. 4 especially), but it’s the maniacal energy, synergy between band and
audience and specific date (playing the last show of a tour does something to you) that takes the
blues-infected riffs and passionate vocals to another level. As a Christian who actually sings about
his religious beliefs, Griffin is certainly somewhat of an outsider in a genre that’s often more
concerned with image and actin’ tough, but this never gets in the way of the music’s forceful attack
and because his tales with their biblical references and ruminations on spirituality/mortality
refrain from becoming preachy, they never get in the way of the performance’s impact. Although there
initially was a problem with Griffin’s mic (which pissed him off a little bit – “we’re sorry that
the first two songs sounded like SHIT!”), the sound and delivery of the set couldn’t have
been much better than they were. The band played songs from debut Nailed and last year’s
sophomore With Vision with dedication and Wino’s presence was never missed. I did wonder
though, what it would’ve sounded like
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AAaaahh… Italy, land of architectural richness, culinary excellence and so much more delight.
Filippo Brunelleschi, Giovanni Boccaccio, Sacco & Vanzetti, la Cicciolina and since a few months
also Ufomammut and Alix. I have no idea whether these two bands are any indication of the
state of the current rock scene in Italy, but if they are, Italy is where it’s at for the
moment. It’s quite funny that the second Alix-gig at the Sojo was again to support a doom metal-act.
Barely three months after The Hidden Hand paid Belgium a visit, Place of Skulls (of which Wino has
been a member for a while) also made their first trip to Europe. Stylistically, Alix and Place of
Skulls are opposites. They’re both heavy, they both can be filed under the stoner-moniker I
guess, but the dark, menacing vibe of Place of Skulls is completely absent from Alix’s catchy
groove-rock. This four-piece is not about casting shadows with oppressively heavy chord progressions
and occult lyrics. Instead, they offer a fairly simple and straightforward interpretation of
sun-drenched desert-rock, blending elements from the classic Kyuss-sound to alt rock, a dash of
new wave and some trippy psych. On top of that, the band’s fronted by one of the most strikingly
unique singers in the biz. Like I said in my previous Alix-review, vocalist Alice Albertazzi switches
from whispers to shrieks and manages to capture both an innocent girl’s charm as well as a more
mature style. Visually, the main attraction in the band is definitely bass player Franco. From
the moment when they kicked off with “Take My Hands” onwards, it became clear he’s the band’s
funk. The guy’s got the moves, I’m telling you, swaying back and forth, plucking his
strings as if it’s a daily ritual he’s been doing for a few decades. During their set, they played
most of their recently released album Ground, which is obligatory listening of you’re in for
one long, continuous groove. The album’s title track boasts one of this year’s catchiest vibes and
it was a pleasure to see how guitarist Pippo managed to offer a broad sound palette throughout it,
but also during “I’ll Be Gone” and “Fun.” Halfway the set, the band delivered a damn impressive
version of “Lonely,” with Franco switching to bluesy slide-playing on dobro and… even when he sits,
he has the funkiest moves. “Out of the Sighs”, which starts off Ground, and
“Like a Flood” (that’s where the vocals really go in the red) managed to keep the momentum going
and the band then finished the set with an experimental edge, with again dobro and a more
restrained vibe and nearly whispered vocals. It’s not that their sound is innovative or that they
run a gamut of styles, but the band’s sheer playing joy (capped off by Franco’s enchanting
introduction of the final song) and different sound was – again - met with enthusiasm.