Live 4 Metal
A new Place of Skulls album is a monumental event; no question about it. I still revel in the doomy and memorable rock bliss of 2003s With Vision (a top 10 selection for me that year). On The Black is Never Far, main man Victor Griffin (ex-Death Row, Pentagram, Cathedral) takes center stage (he shared the spotlight with Wino on With Vision). It took me a few listens to come to the realization, but I now believe The Black is Never Far to be a superior album to With Vision, as far as overall quality is concerned. And that is saying a lot! For whatever reason, there is a more cohesive quality and better flow to the album as a whole. There is also a bit more diversity at work, as demonstrated by the use of bluesy
guitar licks and saxophone on the masterfully arranged Lookin for a Reason. Along similar lines, Changed Heart brings to mind descriptors like magical and mystical, the acoustic guitars, accent riffs, and sweet guitar leads a rather epic way to end the album. A command of tension and release is present on the title track, the spiritual and deeply moving lyrics (a theme throughout) coupled with the light-to-heavy guitar contrasts making it one of the albums best tracks. Still, the patented doom grooves and melodic sensibility of Prisoners Creed, Sense of Divinity, and the outstanding Darkest Hour are quintessentially Place of Skulls. Relentless and We are the Righteous are examples of Griffins broader-based, up-tempo rock approach. Quite frankly, I cant think of a better doom-based band that so skilfully blends the forlorn heaviness of the genre with memorable songwriting and rock-based aesthetics. Weve barely scratched the surface here, as each additional spin of The Black is Never Far brings new aural experiences and uncovers exciting new textures. Griffin is an amazing musician and The Black is Never Far is an elite release. This one will easily make my top 10 of 2006.
By: Scott Alisoglu
THE Metal Observer
The third full-length of the band is one of the best Doom albums I know. Though the boys from Knoxville, Tennessee rather play the rocking version of this style. Sort of a more contemporary version of BLACK SABBATH, PENTAGRAM and TROUBLE.
All of the songs sound grown-up, developed and exalted. You can't play this music with more passion and cooler than that, this is made sure alone by the incisive voice of Griffin. He has probably got the most commercial voice in the Doom circus. A genre that is dominated by Ozzy clones, crybabies and ball pincher singers. Not that I don't like the arcane thing in this style at all ... PLACE OF SKULLS could also please a METALLICA fan as the vocals are in Hetfield's pitch here but leave him far behind. Furthermore, our friends don't stiffen on slow motion sounds but rock proplerly, sometimes even groove and intersperse subtle arcs of suspense in order to acoustic guitars.
There aren't any bad pieces here. I won't forget things like Prisoner's Creed or the divine title track anymore. This thrilling dramatic art almost enravishes to tears. With Relentless even a song from PENTAGRAM days can be heard. Despite quite simple riffage (or even that's why) the thing grooves like hell! We The Unrighteous is reminiscent of relaxed TROUBLE. Whereas the terrific last dance Changed Heart rather reflects the fragile side of the band.
All songs are super cool and I find that PLACE OF SKULLS succeeded in giving new impulses to a quite antiquated genre without denying their own roots. Godlike!
Ralf
BLABBERMOUTH
The idea of metal having soul, as most people think of the term, would strike a lot of people as ludicrous. Those people haven't heard PLACE OF SKULLS, though. Formed by ex-DEATH ROW, CATHEDRAL and PENTAGRAM guitar slinger Victor Griffin, the band is on their third full-length album of doom rock laced with enough pathos and heart-wrenching honesty to make the usual Tolkien-ian avatars of heavy metal look like shallow, rec-room-dwelling dweebs.
Don't let the band's professed and unapologetic Christian faith fool you. This is music from a dark place, and as the album title indicates, the road to Hell is never more than a few missteps away. Griffin's vocals deliver husky, blood-tinged melodies fraught with memories of past demons, hopeful for redemption but wary of personal failures and worldly ruin.
And those riffs! Anyone into Griffin's past bands, or the discography of fellow icon Scott "Wino" Weinrich (who did time in PLACE OF SKULLS and played on their last album, "With Vision"), will drool like Pavlov's dogs at the thick, massive tone and the double-fisted riffs on display here. Even a textbook midtempo stomper like "Apart From Me" is elevated to classic status by virtue of its heartfelt delivery and weighty low end. And when the band get introspective, as on the acoustic title track or the haunting "Changed Heart", you'll get chills.
There's plenty to love if you're not a "true doom" ghoul, too at their heart, PLACE OF SKULLS is just a damn fine rock and roll band. Their conviction puts their slower stuff over, and they also mix in enough straight-ahead midtempo rockers to keep things interesting. From the melancholy of the beginning of "Lookin' For a Reason", to the raucous and deliberately offensive "Masters of Jest", to the heartstring-tugging chorus of "Changed Heart", "The Black Is Never Far" is a dynamic journey that blows any negative "doom metal" connotations right out of the rat salad!
Lyrically, even those not in the same pew as the band should have no problem embracing these universal tales of doubt, confusion and redemption. The band make no secret of their faith nor do they beat you over the head with it. "Your drugs of contentment / couldn't keep me in peace / I've got an urge to kill / and God I know it's wrong if I slit a wrist / or connect a fist / would an innocent face survive?" Hardly the stuff of chirpy, up-with-people Christian rock stereotype! One of the triumphs of "The Black Is Never Far" is that Griffin puts his frail, imperfect humanity on display, asking big questions and admitting doubt and weakness, in a way we've been led not to expect from either Christians or metalheads!
"The Black Is Never Far" wields mighty riffs and impassioned vocals amid a huge, down-to-business production. It's not as immediate as the band's previous albums, but give it a few listens, start to finish, and let the deceptively simple power of their primal riffs and soulful vocals draw you in. PLACE OF SKULLS deal in timeless heavy rock, genres be damned, and "The Black Is Never Far" is their crowning achievement to date.
- Keith Bergman
Wow! Waiting for this one gave a whole new meaning to the word impatience. And let me start by saying that every minute and second of waiting was redeemed in abundance. This is definitely a large stride into new territories for POS, but for this reviewer, who cut his musical teeth in the 70's, thats not a bad thing at all. No doubt there are those for whom an endless procession of slight derivations from 80's Pentagram or Nailed would have been a musical feast (and count me among them, I could never tire of either), but I feel truly sad for those who can accept nothing else (may there be very few of those). The spirits of 70's heavy rock, blues and classic rock are very, very palpable here shoulder to shoulder with the broadsword of doom guitar, hard hitting drums, impassioned vocals and thundering bass of pure metal past.
Prisoners Creed launches the disc and right from the gate theres that unmistakable, stellar Victor Griffin guitar tone and one more in a legacy of riffs with astounding depth. Over that riff occasionally bursts a slightly bluesy lead melody. This ones a short and to the point rocker, with the nearly requisite for POS well thought out lyrics and heartfelt vocals. Sense Of Divinity follows, bringing down the pace a bit and carrying that well known and loved POS heaviness. As this track unfolds it showcases the increased rock element with a swing and groove, a blues break and some spot on impressive work from the rhythm section. Third track Darkest Hour starts out in a decidedly softer fashion than most previous POS material, bringing to mind anything from the better soft moments of classic rock of years past to some of Govt Mules softer moments. Then just a little after the minute mark in strides an absolutely monolithic riff (definitely one of my favorite moments on this disc!). This track also for me typifies one of the things that makes POS such an immense gift (and is found throughout this album); the lyrics and vocals bring the struggle in the core of a mans spirit, unfiltered and unadulterated right through your speakers. Some may struggle with the fact that spiritual and religious beliefs are frequently and forcefully addressed, but not me. The fact that I consider spirituality the most important component of my life probably effects that greatly, but even if I didnt hold those beliefs, I would like to think Id have deeper respect and admiration, and feel a greater impact from a man belting out his truth from the heart than for anyone editing themselves for fear of anothers reaction. Well, back to the track itself, this one finds me hitting the repeat button again and again, just a great song.
After one of the three short musical interludes on this disc Apart From Me comes in on one of those patented sinuous Griffin riffs before switching over to a more chunky style. This track is as good as any to use to address the fact that POS exemplifies tightness as a unit. While Victor may well be the best known member, here he is inseparable from his band mates. Tim Tomaselli, always a quality skin and cymbal pounder, puts in a peak performance on this disc. Dennis Cornelius (and Lee Abney on three tracks) fill it all in with amazing bass work, adept at both rhythmic reinforcement and melodic adventurousness. Next up is title track The Black Is Never Far. This track walks in with the softer style sited above, the lyrics bringing the first touch of heavy to a memorable melody. The music never goes the crushingly heavy route here, even when the electric guitar enters, but rather than being a bad thing it serves to emphasize the power of the vocals and lyrics...trust me this is no easy listening stuff going on here. The guitar solo at the end shows one of Victor Griffins array of talents, the ability not to overplay. The searing, melodic and emotional nature of the playing recalls Jeff Becks ability to say it way more powerfully with less notes than most.
Hot on the heals of the title track comes We The Unrighteous for some reason bringing into mind some of Victors solo demo work (released as Late for and Early Grave) gone heavier and with a far more powerful production. The oft heard on this album intertwining of light and dark once more comes into play on this song. Another interlude (more sound than music) leads us into Masters Of Jest one more monster POS slow to mid paced pounder. One more last interlude and were into Lookin For A Reason a perfect standard bearer for POSs expansion of musical boundaries. After a unique intro with a mournful sax (yeah you read that right!) melody (re-visited mid-song followed by some great bluesy/jazzy guitar work), heaviness abounds from the instruments and from the explosive struggle between anger and the desire to have it contained vocalized. The ability to move in and out of different feelings without any interruption in flow or loosening of the riveting commanding of attention, while transcending any efforts at genre classification speaks to a band at the peak of their creativity.
Next up is the most difficult track for me to review. Its a cover of Relentless. Having been so attached to the original for so many years, I find myself unable to pass any judgment one way or the other on this yet. It by no means impresses me as a mistake, but doesnt feel like it trumps the original either......somehow there has been a slight feeling of wistful nostalgia on the first few listens. Closing it out is Changed Heart, which like the title track eschews a face crushing musical attack to let the melody, song structure and cry from the soul vocals and lyrics pierce the heart and mind of the listener.
It really felt like I was hearing this through the ears I had when I was 13 or 14 and Black Sabbath, Led Zeppelin, Scorpions, UFO and The Allman Brothers were blowing my mind. The metal head in me loves this, there is certainly still more than enough sheer heaviness to ensure this. But the part of me that loves Govt Mule is also amazed by this album. I cant think of a much better compliment than to say it is entirely appropriate and absolutely earned that Place of Skulls be mentioned alongside the other bands in this paragraph.
By Michael Ballue
March 8, 2006
ABSOLUT METAL
Old school doomsters Place Of Skulls present us with 13 tracks of classic doom on their 3rd album. This one is a bit different from past Place Of Skulls material, it's not just another doom album. It has some very mellow bluesy stuff on it here and there, "Lookin' For a Reason" is laid back, and the guitar leads are just badass. There's a stoner rock fuzz going on here, and Victor Griffin's vocals take a step forward on this one, delivering more emotion than in the past. It's a bit strange because it sounds more "accessible", and I'm not sure if that works in their favor or not, donno where they're going with that approch.
Reviewed by: Wolfie
PITRIFF
Place of Skulls' seat on the Doom monolith has yet been determined, being lumped into the mighty horde of also-rans after their first two full releases. Setting themselves apart is must as the crowd gets larger by the year. Comparing bands like this to Black Sabbath is not only too easy, but it's boring. It's the job of the band to make such comparisons fruitless, and it's the attempt to put into words what a band's success or failure to do so that is mine. Differentiating yourself from your peers can only come from being yourself, and this release does so with some wonderfully subtle ways.
What this album brings to the table is an abundance of emotion delivered soulfully by vocalist Victor Griffin, he has a fantastic voice that conveys the power of the words written, breathes the somber interludes of introspection, and does so with smooth transitions. This offering, instead of being direct Doom, intends to infuse the fuzzy guitar tones and melody of Stoner Rock, based heavily in the blues, sweeping away many of the in-your-face, down tuned power chord festivals of which this genre is celebrated. It prefers to be a laid back dreamscape, content in its own passionate melancholy. Austerity does not attach itself to this genre well, and Place of Skulls deliberately and successfully elevate themselves above many of their contemporaries with not only their sincerity, but of a vulnerability that creates accessibility.
I am well aware that it seems I am splitting hairs with review, but one must do so with a genre that has to stick to certain rules of engagement. While the basis is Sabbath, it isn't Candlemass, Pentagram, or even Corrosion of Conformity, as Place of Skulls are coming from a different perspective. The best songs off this release are delivered from a vantage point of somber moods, yet have a clarity of vision built upon self-reflective lyrics about the powerful draw from the dark side and ones own battle for salvation. A strong sentiment in these days of live and let live. Resisting the internal drive for individuality is certainly not the point, it's coming to a realization that not everything in this world is under your control, not even your own death. The struggle IS the point, it's what defines your character, your resolve, and determines your ultimate destiny.
PITRIFF RATING - 9/10 - Overall, a great album in this still incubating, new year of Heavy Metal. This release definitely surpasses their previous albums, demonstrating a maturity that many a band should be attempting to attain. But, I am not sure that is something you can work for in the end, it may be something attained through the living of life combined with one's own ability to look within him/her self. Achieving it individual is one thing, but to do it as a band is another. I think Place of Skulls have reached that in one way, but the plateau of crowning glory is still yet to be accomplished.
Reviewer: Brian Gould
DAREDEVIL MAGAZINE
Wow, I awaited something different, but as soon as Ive put in "The Black Is Never Far" I knew that Griffin, Cornelius and Tomaaselli made one of the best albums in the history of Place Of Skulls. "The Black Is Never Far" is a tribute to everything which is heavy and doomy, but also traditional old school Heavy-Metal plays a big role on this album. This time the guys of Place Of Skulls really made a step forward in the big thing called Doom...this is no more just the slow and heavy Doom theyre playing...this is what I call a classic Rock/Metal album with a lot of variety, original ideas and love to details. "The Black Is Never Far" will elevate Place Of Skulls to another level where Doom meets classic Rock. I highly recommend this album to every Doom fan, but also you Metal and Hard-Rock fanatics out there will worship "The Black Is Never Far". Doom-Rock, Doom-Metal...call it whatever you want...for me its just good music.
RB
MONOLITH
New album by Place Of Skulls! I heard rumours that it is far better than its predecessor, but I refused to believe them. I thought that the band could never surpass "With Vision" but alas, I was a fool! I should have stuck with the lyric by St. Vitus "I believe in miracles" because the new Place Of Skulls album is a bloody miracle. I underestimated Victor Griffin's abilities for sure, and I can't understand why I did such a thing in the first place. Then again it is bliss to listen to an album that turns out to be better than what you expected.
Wino's departure from the band affected its style a little bit. "The Black Is Never Far" is more heavy rock oriented, the "dry" sound (for which Wino was responsible) of "With Vision" is replaced by a heavier and more classical old school hard rock touch and because of that, it will remind you a little bit of "Be Forewarned". Through Griffin's guitar, thunderous heavy/hard rock dynamites interact with doom metal elegies (that have something from the darkness of Pentagram) to create the most melodic, varied, heavy, mature and impressive Place Of Skulls album. The natural protagonist of this new opus is of course, the inspired beyond any belief guitar work: Pure sabbath-ic riffs able to crush your neck, electrified lead melodies that make you sing their tune, flashy solos that drive you nuts, and lots of acoustic guitars that fill you with warmth, with a sound that is emotive by nature. But the magic of the album is not hidden only in the incredible amount of inspiration that it carries, neither in the exemplary way the band approaches its wondrous ideas and puts them together. The essence of this album is the sentimental strike that gives to the listener. Songs like "Changed Heart", ,"Darkest Hour", "Apart From me" or "The Black Is Never Far", are so fucking intense, that the feelings that pass to the listener are becoming almost unbearable. I don't know what made Mr Griffin to put so much of his soul into the songs (like he never did before) but listening to him singing has become a sensational experience. Without having any amazing vocal abilities, he delivers one of the most sincere, deep and emotionally powerful vocal performances I heard in years. The deeply spiritual identity of most of his lyrics, which is absolutely reflected on his singing and music of course, adds its own piece to the making of this masterpiece of passionate rock music.
This is not just the best Place Of Skulls album (so far). It is an album that must be heard and admired by everyone into serious heavy rock/metal. And by the way, the new version of "Relentless" kicks ass!
By: Antonis Stroggilakis
BLACK ANGEL PROMOTIONS
Aside from Cathedral's latest disc, the Doomier side of Metal has laid low this year, at least until now. Tennessee's Place Of Skulls has returned from the dead with their third album entitled, The Black is never Far. The band is a three piece centered around vocalist/guitarist, Victor Griffin, who has played in Cathedral, Death Row and the legendary Pentagram! Other members include bassist, Dennis Cornelius (Revelation and Oversoul) and drummer Tim Tomaselli. Previously, the band was signed to Southern Lord and released two very successful albums through the label. However, the band has chosen to release the new disc through Exile On Mainstream Records.
Those of you who are like me and just can't get enough of the Doomy, Gloomy sounds Black Sabbath have brought us all these years will fall in love with this record. What'll make you even happier is the fact that you aren't going to find an incoherent Ozzy Osbourne on vocals; God love the man but it's over. Victor Griffin not only delivers musically, but vocally as well. All it takes is a listen to tracks "Prisoners Creed" and "Darkest Hour" to get an idea of what the band brings to the table; soulful, charismatic vocals sang over Bonafide Heavy Rock. I stress heavy soundwise, not riff wise. I know I've said Sabbath already, but if I said anything else I'd be lying. On many levels the sound is heavier than Sab, for instance, there isn't a guitar/bass track out of the thirteen tracks that won't rattle every window in my house. What I really enjoy is that none of the tracks beat me silly with incoherent guitar riffs, raging blast-beats or flash-in-the-pan/flavor of the month songs. Every composition has its place in the scheme of things and each is played beautifully with a deep respect to the artform.
Place Of Skulls is not strictly a Doom Metal or Rock group. You'll be pleasantly pleased to find a plethora of Blues, Jazz and Classic based guitar scales with soaring leadbreaks dripping with dynamic melody lines. Title track, "The Black Is Never Far" has it all and then some. "Lookin' For A Reason", features the Prog/Psychedelic side of the band with a few peaceful saxophone parts in the quiet moments. The leadbreak in this track smokes, on one hand it's technical, then on the other it's on fire with classic moments of Stevie Ray Vaughn influence.
I can't speak for the band's previous efforts, as I've not heard them, but I shudder to think they've tarnished their image or forsaken their fanbase with The Black Is Never Far. I've enjoyed the disc and the band tremendously, I don't think it gets much better than this in the Rock scene.
Metal Review
Unfamiliar with this doom outfit, I could only assume through its lineup that what was to follow consisted of music of the highest quality, and what I found on The Black is Never Far vast exceeded expectation.
This third album from Place of Skulls encompasses an aesthetic that voluntarily or involuntarily contributes to a well-established canon of complex and diverse doom that incorporates dirge rock, rollicking groove, subtle psychedelic touches, and an underbelly of sweat, tears, and the sense that one is cutting straight through the meat to arrive at the B vitamin of emotions. With members who have made stellar contributions to projects like Pentagram, Revelation, and Molly Hatchet, its by no mistake of the gods that the album sounds as good as it does. With no basis for comparison in terms of previous releases by Place of Skulls, I can only make the argument that fans of Sabbath, Pentagram, and other dark doom outfits whose common threads are the questioning of social structures, the carefully and organically constructed production of music that speaks for itself, and a visceral, fuck you attitude aimed at the ignorant who walk through life with nary an introspective thought or societal complaint will enjoy the hell out of this.
Songs like We the Unrighteous and Prisoners Creed speak to a desire for social change from the ground up, starting with how we as humans belittle each other to the point where were no longer individuals but representative of a greater entity belonging to powerful social stereotypes. While the subject has been approached with far greater subtlety, the immediacy of the lyrics in We the Unrighteous is forceful and effective. Prisoners Creed broaches the issue of human compassion in a personal sense: Theres a man in needbrother from the gutterCompassion I feel your strifeI offer you this prayer the peace that you will find inside. Personalizing the issue of human compassion makes the lyrics more accessible to listeners and prevents the song from biting off more than it can chew.
While there are undoubtedly moral influences stemming from vocalist and guitarist Victor Griffins religiosity, one never feels as if the social mores are preached from a church pedestal. Concerns like human compassion, comfort with oneself, and individual purpose are universal. There is an honesty in Griffins voice that permeates The Black is Never Far like a commanding mist, and it doesnt hurt that the music will slap and beat you into submission worse than an angry, apocalyptic evangelical ever could. Buy this. Now.
by CHRIS CHELLIS
STONERROCK.COM
Last time I wrote about Place of Skulls, it was more of a eulogy than a review. They had posthumously released an EP, Love Through Blood, having by all accounts had called it a day. The overly spiritual nature of Love Through Blood heightened the feeling that the EP was a graveside tribute to another fallen band.
But like a wise sage once said, You cant kill rock n roll, and Place of Skulls is back with their third full-length, The Black Is Never Far. Whats most noticeable about this album is that their time in deathly limbo has given them the desire to shake things up. While you still have the merciless, lumbering doom grooves that were prevalent on Nailed, With Vision, and Love Through Blood, the band Victor Griffin (guitar/vocals), Tim Tomaselli (drums), and Dennis Cornelius (bass) shakes things up with songs that just plain rock (Prisoners Creed being the best example). Theres also more melody to The Black Is Never Far, with the band, in both the guitar parts and vocals.
What this all adds up to is a very layered, textured album that shows more sides to Place of Skulls than any of their previous work (including a bad side, in the form of We the Unrighteous the one song that really just doesnt work lyrically or musically). It seems their momentary lapse of living has freed them from genre constraints, thus giving them the freedom to write one hell of a comeback album. This is easily Place of Skulls best work.
Review by John Pegoraro
METAL COVENANT
Tennessee's finest and heaviest band Place Of Skulls is back with a brand new fine work entitled The Black Is Never Far and this time it is the german label Exile On Mainstream Records that will bring on the heavy and darkened groove that Place Of Skulls offer with the bands' engine, heart and lunges Victor Griffin on guitar and vocals.
The Black Is Never Far is a very diverse album that has a lot to offer, I think. Place Of Skulls shows a very wide spectre over all the classic doom structures and everything is very well arranged with a touch of hard rock. It doesn't matter how well a band like Black Sabbath have composed their material during all those years. Their early, and in my ears best, material was a bit monotone and perhaps not always filled with surprises. With Place Of Skull it's more like they are misfits of their time. They are thirty years after their music. The fine thing with this is that they have had a chance to pick up influences over all the years that work supreme together with the classical doom package. The result is a band with very good depths, incredible nice guitar melodies and always with that fluffy cool guitar, bass and drum sound. A sound that's almost been erased in the modern hi-tech jungle of today. All these aspects can be laid to the incoming account and to this also the magnificent vocals from Victor Griffin. Clean vocals with loads of power that fit and gives a kick to all these acoustic parts.
The Black Is Never Far holds thirteen songs if you include these interludes that seem to pop up here and there. Of course, all songs aren't excellent, and this has to be added to the outgoing account. There are some really good ones and these are superb times. But there are some songs that flip out to much, I think It is always cool with songs that have been born from jamming but it doesn't have to sound as impulsive as it does on some tracks in the end of this album. Well recommended songs on The Black Is Never Far must be Prisoners Creed, Sense Of Divinity, Apart From Me and the awesome Relentless. A very good album that offers more than traditional doom.
FISHCOMcollective.net
Place of Skulls "The Black is Never Far" attacks and appeals with thick crunchy chordage and strong vocals. A stoner/doom band with a tinge of modern rock, Place of Skulls have totally stoner-fuzzed-out guitar assault, big and bad and laced with psyche guitar whine, totally groovy and full of muscle. The vocals are clean and melodic but strong enough to jive with this super duper rock and roll frenzy.
review written by: Upchuck Undergrind
SMOTHER
Victor Griffin whose legendary status was comprised of past stints in Cathedral, Death Row, and Pentagram is now here with some melodic metal via Place of Skulls. With Iommi style riffs and Dio-esque vocals, The Black Is Never Far is the next amalgam of doom and metal. Black Sabbath would be proud that they influenced such great non-grandstanding riff-heavy metal. Raise em up high this time.
- J-Sin
BOOMCAT
In love with the kind of Ye Olde doom metal that tends to come with a free sacrificial virgin (gratis!), 'The Black Is Never Far' marks Place of Skulls' third dalliance in the art of full-length LP's - carving a sound from the depths which is far less oppressive than you might imagine. Sounding surprisingly like vintage Metallica (i.e. before they became the type of band who hold a weekly juice-market...), Place Of Skulls have some real heritage under the bonnet, counting both Victor Griffin (Ex-Pentagram, Ex-Death Row, Ex-Cathedral) and Dennis Cornelius (Revelation and OverSoul) amongst their ranks. Starting out as they very much mean to go on, 'Prisoner's Creed' stacks the riffs high and proud; leaving just enough room for the James Hetfield vocals and climactic drum solos. I can smell the hair from here! Elsewhere, 'Masters Of Jest' extends beyond an in-joke for metal heads to fashion a stomping rock behemoth, 'Relentless' is like Slash on Ketamine, whilst title track 'The Black Is Never Far' explores the softer-side of Place Of Skulls - a territory that demands slow-motion hair-blowing in the desert. Rock and Roll!