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 freethinking 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.

The drought is over. After years in the wilderness, homegrown heavy metal has finally returned. No longer the domain solely of our European forefathers, metal pure in both delivery and creativity is gaining momentum at breakneck speed in the Western Hemisphere. Leading the charge domestically are Ohio's sons of Midwestern darkness SKELETONWITCH, who have emerged as forerunners of this new American sound. The 'WITCH's mighty, sonic fortress is an amalgamation of classic Bay Area thrash, Scandinavian death/black metal and NWOBHM. Upping the ante from their Prosthetic debut, Beyond the Permafrost, these five gnarly longhairs show no mercy and take no prisoners on their newest long-player, Breathing the Fire, which debuted at #151 on the Billboard Top 200 charts.

To lay this nasty, raging slab to tape, SKELETONWITCH traveled to Seattle and hooked up with legendary producer Jack Endino (Nirvana, Soundgarden, High On Fire). To make things extra filthy, the 'WITCH enlisted Scott Hull of grind kings Pig Destroyer to handle the mastering duties. Tracks like "Crushed Beyond Dust" and the leveling album-opener "Submit to the Suffering" are sure to whip even the most jaded metal fan into a psychotic frenzy.

"Breathing the Fire is a burning, fucking beast!" says guitarist Scott Hedrick. "The drums are monstrous; Chance's sickening vocals sound inhuman and somehow retain amazing clarity; Evan's bass sounds like Steve Harris, Lemmy and D.D. Verni in a blender; and the guitars sound like jousting chainsaws. A lot of people said that on Beyond the Permafrost, we married black and thrash metal. With Breathing the Fire, they banged and had a kid – and that baby's a burner!"

SKELETONWITCH's vicious live show and fierce blue-collar ethic have helped to establish the band as torchbearers of today's metal scene. They were handpicked by Glenn Danzig for his 2008 Blackest of the Black tour, and have since logged countless miles on the road crisscrossing the nation with the likes of Municipal Waste, Job For A Cowboy, Amon Amarth, Dimmu Borgir, 1349 and Cannibal Corpse. In the fall of 2010, they hit the road with Children of Bodom 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 and Ozzfest.

"White van, black t-shirt: that's been my life since we started SKELETONWITCH," adds Hedrick. "We love and live for the road. We'll play the enormo-dome or we'll play in your fucking closet – we don't care as long as we get to play. Being out there on the road and mixing it up with all the metalheads is what it's all about. We're all one and the same, and if we weren't fortunate enough to be on the stage, we'd be right in front of it banging our heads."

SKELETONWITCH formed in 2003 and self-released their debut full-length, At One With the Shadows, in 2004. 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 ten of the CMJ Loud Rock Chart.

SKELETONWITCH brings together the old and sacred elements of true heavy metal, melts them down, and forges them into a brand new monolith of riffage. 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!

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Ghost B.C. with SKELETONWITCH

Monday, July 29 · Doors 7:00 PM / Show 8:00 PM at Rams Head Live