Official Lollapalooza After Show with Ghost B.C.
1572 N Milwaukee Ave
Chicago, IL, 60622
Doors 10:00 PM / Show 11:00 PM
This event is 21 and over
Watch & Listen
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.
“SKELETONWITCH has been called every name in the fucking book: death metal, black metal, thrash metal, speed metal, heavy metal, epic viking blackened thrash ‘n’ roll, and so on. It seems the only description everyone can agree on is ‘metal,’” says guitarist Scott Hedrick, “and that suits us just fine.”
Indeed. Like Satan himself set loose in the hallowed halls of heavy metal, these Athens, Ohio-based headbangers careen wildly through the music’s history, gleefully destroying and setting flame to every genre along the way, only stopping at the forefront of today’s metal scene to look back and watch that fucker burn — and then piss on the flames. No other band has tapped into the fire, fury, and frost of all things metal like SKELETONWITCH.
Their latest slab of savage, molten metal, Forever Abomination (out in October on Prosthetic Records), is a testament to their refined craft, honed through years of hard work and relentless touring. “We live and breathe this shit!” exclaims Hedrick. “We tour as much as humanly possible, and when we’re home we write. There’s technically no such thing as ‘time off’ when you’re in The ‘WITCH”.
And it shows. On Forever Abomination, SKELETONWITCH’s unique blend of metal was given a kick in the ass by Matt Hyde (Slayer, Hatebreed), who produced and recorded the album. The group’s carefully crafted tunes and technical mastery are brought to the forefront by Hyde’s monolithic production.
Main songsmith and epic riff-merchant, Nathan Garnette, has carved out the most unique batch of SKELETONWITCH tunes to date, while vocalist Chance Garnette has outdone himself again, sounding like he was barely able to contain his inner demons long enough to track the vocals. Bassist Evan Linger plays like a possessed Steve Harris, if Harris actually knew what the fuck black, death and thrash metal were. Guitarist Scott Hedrick’s lead work displays musicality and feeling rarely seen in extreme metal, and all of this is enhanced by SKELETONWITCH’s newest addition, drummer Dustin Boltjes (Demiricous).
“Dustin is a fucking animal!” says Hedrick. “He stepped up to the plate and took these songs to another level with his relentless style of playing. He really drives the songs more than anyone we’ve ever played with.”
And at the end of the day, it’s all about the songs. Each track on Forever Abomination has its own unique identity and ability to stand alone. “Everyone stepped up on this album and really pushed themselves. We’ve created something much larger than the sum of its parts. We’ve never been more proud of our work, and that’s how it should be. We wouldn’t release Forever Abomination if we didn’t feel that way,” says Hedrick.
SKELETONWITCH’s vicious live show and fierce blue-collar work ethic have garnered them a dedicated fan base, including some of the genre’s biggest names such as Rob Halford, Phil Anselmo, Bill Ward and Robb Flynn, to name a few. They were also handpicked by Glenn Danzig for his 2008 Blackest of the Black tour, and have also logged countless miles on the road in the U.S., Canada and Europe with the likes of Amon Amarth, Dimmu Borgir, Cannibal Corpse, Children of Bodom, High on Fire and The Black Dahlia Murder. The band has also made high-profile appearances at several festivals, including the New England Metal and Hardcore Festival in 2008, 2010 and 2011, the 2010 Scion Rock Fest in Atlanta (along with Mastodon, High on Fire, etc.), South By Southwest, Ozzfest, Wacken, Summer Breeze and more.
SKELETONWITCH formed in 2003 and self-released their debut full-length, At One With the Shadows, the following year. In 2006, after several underground tours, the band broke through musically with the self-released EP Worship the Witch (which included a limited, handmade edition by Baroness’ John Baizley). Worship the Witch peaked label interest, and in 2007, the band signed with Prosthetic Records and released Beyond the Permafrost, which received numerous accolades in the U.S. and overseas and landed on many year-end “Best Of” lists including Revolver, Decibel, and Pitchfork. The album also cracked the Top 10 of the CMJ Loud Rock Chart. Their follow up full-length Breathing the Fire, released in 2009 and produced by Jack Endino (Soundgarden, Nirvana), landed at #151 on the Billboard Top 200, received glowing reviews throughout the metal community and landed on numerous “Best Of” lists.
If you know what’s good for you, you’ll come out and bang your head when SKELETONWITCH comes to your town. Worship the ‘WITCH!