Ghost – Tickets – College Street Music Hall. – New Haven, CT – April 16th, 2016


Manic Productions, Redscroll Records, and iRockRadio Present:



Sat, April 16, 2016

Doors: 7:00 pm / Show: 8:00 pm

$25.00 - $32.00

Tickets at the Door

This event is all ages

Ghost is a 6-piece rock band that was formed in Sweden in 2008.

In 2010, they released a 3-track demo followed by a 7" vinyl titled "Elizabeth," and later their debut full-length
album Opus Eponymous. The album was widely praised and increased their popularity significantly.

Their second album Infestissumam was released in 2013. Bolstered by a fight with the Catholic Church over a hamburger, Ghost’s pursuit to highlight the hypocrites and champion the individual reached a global audience. The album was also certified Gold in Sweden.

For each album, a Summoning is held to present a new singer and frontman for the band at an undisclosed location in Lincopia, Otrogathia. Papa Emeritus III, the singer for the Meliora chapter of Ghost, was revealed via a paid advertisement on VH1 Classic on May 20, 2015 during a late night broadcast of Caddyshack. A technologically adept fan captured the moment on their phone and uploaded to a popular videosharing web site.

A decadent and hash­addicted poet once wrote “What matters an eternity of damnation to someone who has found in one second the infinity of joy?” This is the only choice that matters. The devil’s fall came only after his great rebellion, a single and simple act of looking into the face of authority and saying, “I am glorious.” This was Satan’s ecstasy, but he embraced it knowing the punishment. Are you ready then, to join Papa Emeritus III in the pit, to proclaim your own splendor, feeling your wings melt as the last breath of the exclamation leaves your mouth?

Rock and roll exists in two worlds: the sacred and the profane. In the first, it harkens back to a time when people worshipped their gods by wearing masks, dancing, and often in the throes of ecstatic intoxication. In the second, rock exists in the here and now, as an expression of rebellion, sex, power, and even fame. In the realm of the sacred, the ego is destroyed when the god is seen face to face. In the profane, ego is the energy that get things done. This is the eternal spiritual conflict: the will of the gods versus human will. Those who can keep a foot in both the sacred and the profane can change the world.

The world since he was last seen has changed. Called Moloch by some, the great industrial machine has been grinding away, grinding everything and everyone down in the process. Spies are everywhere. Their eyes are behind the screens of your televisions and devices, their ears attentive to every frequency in the air. Everything is mediated, pre­packaged, and pressure sealed, your lives preordained. From the cradle to the grave, the world moves along as if there is free will, but this is the grandest illusion. There is no power beyond that which the all­seeing eye controls. The gods are all dead. Even art is pure commodity. But some still fight, quietly at first, but soon they will rise and make the glorious noise of the ancients, donning their masks, these nameless ghouls led by Papa Emeritus III.

Above the shining city of Meloria, dirigibles float like angels, ever watchful. Under the streets Papa Emeritus III is gathering his new flock. He is a shepherd of black sheep, the sewers are his cathedral. Here in the darkness they follow the path of the hero’s journey, the necessary travel to the underworld to become transfigured, to become something new. The journey is always painful, and some are left behind, but you cannot turn back to see what has been sacrificed. Along the way, his followers try to name him their god, but Papa Emeritus III teaches that he is only the mask, the voice.

Myth and legend are mostly dead, but some still remember the old tales of those who tried to defy the gods. It was said they stole the fire heaven, or called themselves equal. One figure was considered so prideful he was imprisoned in a pit where he gathered a legion to plan a great rebellion. Now they are merely stories to scare children, to remind them that defiance is a sin. Papa Emeritus III will steal your breath, the parents say. He will unscrew your hands and feet. He will take your eyes.

Then one night, on the high floor of a gleaming skyscraper, whose lights are controlled to come on and off with the rising and setting of the sun, something happens. A sole window is illuminated, a tiny fist raised to heaven. And then comes sound of a beat of a drum, the strained crackle of an amplifier, and the thick chord of a guitar.

It begins with a call to “Cirice,” the once proud goddess reduced to a whore and bringer of the apocalypse is reborn. The song is a love letter to all those who have been cast out, a reminder of the divine nature in all of us. Made of star stuff, how could we be born in sin? Behind the lie of our own damnation is the truth of Papa’s love. Submission won’t be easy, but on the other side is liberation.

The hardest part will be the fall. It will mean climbing down from the gleaming skyscrapers where everything is mediated, where experience is in the streets and not in the virtual reality of our devices. Going from “The Pinnacle to the Pit” is not the punishment it was meant to be. It is freedom to struggle against injustice, to march with crowns and scepters. Here in the pit, we are all royalty now.

Papa Emeritus III is not here to lead. His journey is your own. “Majesty” is not the state that only belongs to him. He is merely the mask, the path into the fire where he has already been. The method is exactly as it has always been, down on our knees, imploring the gods, but Ghost will sound your arrival with voice, and string, and drum. The world is about to be electrified. You can fall or you can jump.
Any band whose appreciation of music is broad enough to encompass the likes of Dissection, The Misfits, Iron Maiden, The Doors and Type O Negative is unlikely to be interested in recycling other people's ideas. And as that list of inspirations suggests, Tribulation present to you a record that is both unapologetically ambitious and utterly distinct.

Emerging from the darkness of the Swedish death metal abyss in 2004, the band immediately stood apart from what was already a crowded scene, betraying an uncompromising vision that refused to be shackled by any genre stereotypes. Their exhilarating 2009 debut album The Horror somehow managed to simultaneously conjure the spirits of such old masters as Morbid Angel, while still sounding absolutely fresh, its combination of death metal with thrash, heavy metal and even horror soundtrack influences earning it praising reviews.

Their much awaited 2013 follow-up The Formulas of Death saw the band beginning to spread their wings further, its 75 minute playing time offering a more epic and colourful approach than its predecessor, the progressive touches resulting in an almost cinematic journey while displaying abundant aggression and occult overtones.

Yet even with such a glowing track record, new album The Children of the Night, which was recorded, mixed and produced by Ola Ersfjord in several different Swedish studio locations (Studio Gröndahl, Honk Palace, Studio Cobra, Necromantic Studios and The Resting Stone) as well as mastered by Chris Common at Twin Hills Mastering in El Paso, Texas, is guaranteed to turn the heads of both newcomers and the initiated alike. Remarkably Swedish, the combination of foreboding death and black metal with vintage rock/metal as well as even dark wave influences sees the band offering nods to bands such as the aforementioned, while nonetheless always refusing to fall into mere mimicry. With a willful drive, an irresistible groove, bewitching melodies and a haunting atmosphere, The Children of the Night captures a true sense of drama and heaviness despite the strangely accessible nature of its compositions.

"You shouldn't expect an album filled with blastbeats and double pedals," the band warn. "This record is more back-to-basics, more streamlined but at the same time it sees some of our most strange stuff to date. It's a big album - dark and atmospheric - and is without a doubt a step in our very own direction and our best work so far." It's hard to argue with that sentiment; songs such as 'Strains of Horror' and 'In The Dreams of the Dead' offer an unforgettable taste of darkness, but are also utterly invigorating and addictive – quite literally; if you don't find yourself humming at least some of the catchy riffs on here then there might just be something wrong with you. But it's not about just relying on catchiness – there's an impressively considered ebb and flow to these compositions, the eerie organs and introspective guitar breaks balanced by passages of furious riffing and stirring choruses.

"Most of our lyrics are about the experience of transcending the mundane world as we know it," the band explain. "They are about approaching the divine, or whatever you choose to call it, and how you go about doing that. Tribulation will always be about both horror and religion / spirituality, with a 'necromantic' take on everything…we touch on things in the outskirts of it all, in the periphery."

Just as importantly, Tribulation always touch the emotions of the listener. At a time when the metal enthusiast is faced with a constant stream of releases, this album stands alone; to listen to it is to be swept up in its grandeur and majesty.
Venue Information:
College Street Music Hall.
238 College Street
New Haven, CT, 06510

Parking Information