31 Webster St.
Hartford, CT, 06114
As the tides change and the flames mount, Papa Emeritus II and the Group of Nameless Ghouls reflect upon man's fall and the Antichrist's rise.
In the year of 13, the second phase of Papa Emeritus II and the Group of Nameless Ghouls begins with the release of the sophomore psalm INFESTISSUMAM. Papa Emeritus II succeeded Papa Emeritus at the conclusion of phase one in the year of 12, and the Nameless Ghouls joined him under the unholy church's current moniker Ghost B.C.—the "B.C." is silent when spoken aloud, please remember that. The name is also phonetically written [goʊst]. Their rituals demand reverence and praise, fortified through a delivery of sweetly satanic melodies, snaking distorted riffs, and vaudevillian keyboards.
The world's introduction to the troupe, the year of 10's Opus Eponymous, closed with "Genesis", a foretelling of the Antichrist's coming. He is here now on INFESTISSUMAM and shall be treated accordingly.
Here are the details. This collection was captured to tape in Christian epicenter Nashville, TN with the help of producer Nick Raskulinecz. It will now be disseminated through newly formed Loma Vista Recordings and Republic Records.
As for the story itself, this is what you should be prepared to hear and see.
"INFESTISSUMAM"—Latin for "The greatest threat"—refers to the Antichrist as being the biggest danger to the Christian world, and ironically a choir conducted by Papa Emeritus II heralds His onset. "PER ASPERA AD INFERI", translated to "Through Hardship to Hell", slyly dissects the overblown ambitions of youth who can't come to terms with their own insignificance. All of their sanctimonious gloating forges a pact with the Devil. This hubris is the most tragic of flaws. "SECULAR HAZE" refers to the mist that sweeps over the earth as His power slowly takes hold. "JIGOLO HAR MEGIDDO" talks of the Antichrist moving among us in the form of an attractive young man. Driven by lust, females flock to him and, after "the act," dub him the Antichrist. The first half ends with "GHULEH/ZOMBIE QUEEN" a dirge ballad that mourns the passing of days gone by, wrongly yearning for the past.
"YEAR ZERO" laughs at the reaction of small individuals to His arrival as its bellowing bombast pays homage to the horned subterranean god. "BODY AND BLOOD" deals with the cannibalistic ideal of communion, while "IDOLATRINE" shines light on the church's preoccupation with attracting sheep. "DEPTH OF SATAN'S EYES" overturns the notion that intellectualism and free- thinking are a work of the Devil and, in fact, man's greatest tools. Everything leads up to "MONSTRANCE CLOCK". It's a ritualistic event involving a ministry coming together to witness the consummation and birth of the Antichrist. Sexually charged and demonically conveyed, procreation stands regarded as one of the most utterly evil works of Satan. Ironically, it's the source of life.
Speaking of life, Papa Emeritus II and the Group of Nameles Ghouls invite all to witness their rituals on stage. The front row remains continually comprised of females willing to do anything for Papa Emeritus II as a dramaturgical exposition of the Antichrist's ascent unfolds on stage. Rituals have taken place in front of sold out audiences across the world and at festivals such as Download, Orion Music + More, Coachella, and more. The congregation has grown to include such high-profile members as James Hetfield of Metallica, Philip Anselmo of Down and Pantera, Fenriz of Darkthrone who has the honor of being the first public supporter, and Dave Grohl of Foo Fighters and Nirvana, who participated in the recorded ritual on a cover of ABBA's "I'm a Marionette".
The age of INFESTISSUMAM is formally underway. Allow Papa Emeritus II and the Group of Nameless Ghouls to open your mind or simply play witness.
Either way, you're under their spell now.
Formed in Athens, Ohio, SKELETONWITCH has been launching metal assaults on an unsuspecting underground since 2003. The members of THE WITCH are bonded by the universal truth, that heavy metal is the law, thereby unleashing the band's brand of ripping, epic thrash. Everything begins with the purity and aggression of the 80s Bay Area thrash scene, but SKELETONWITCH further fuels its evil onslaught with elements of black and Viking metal while proudly waving the NWOBHM flag. Imagine a young Metallica, Megadeth, Slayer, and Exodus slamming beers and cranking up Immortal records at a rager in 1985. Just when you think the keg is killed, Judas Priest joins the party with a fresh case of beer.