tobiasistheworst

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You are important🖤

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#tobias forge #interview #video #klaq #el paso

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From Rock Hard FR 3/2022

For a Ghost fan, it’s probably a bit more interesting [to hear Idolatrine] than hearing you play, for example, “Enter Sandman”.

(Silence) Tell me, why do you think we’re playing “Enter Sandman” live on this tour?

Because it’s a killer song, your version is great and everyone will sing along?

(Smiles) Partly, but not only. We play this song almost every night because the money from the rights to our cover go to a charity that we have chosen [Camp Aranu'tiq], which allows transgender teenagers to go on vacation to summer camps, so they can find their space and rest at least for a moment.

#tobias forge #interview #quote

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Source: @klaqofficial

“Who’s ready for the Ghost/Volbeat concert Monday?”

#tobias forge

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Stage design - The Black Moon Lilith

Portland, OR

📷: Ryan Chang

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In case you were wondering, the other inscription on Papas’ crypt apart from “per aspera ad inferi” (a nod to the second era) is “a busca de algo melhor” - a nod to to the third era as the word ‘meliora’ translates to ‘the pursuit of something better’

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Beware of the Ides of March.

New Ghost album, Impera, out March 11th, 2022.

The Ides was a monthly religious celebration on the Roman Calendar, and as we know, each month was dedicated to a god or a ruler. March is the month devoted to the God of War, Mārs.

But the Ides of March (15th) is referred to as the assassination of Julius Caesar at the Senate. The phrase “Beware of the Ides of March”  is a line of the well-known Shakespeare’s play Julius Caesar. According to Plutarch, Caesar was warned by a seer on this particular date. On the way to the Senate, Caesar met the seer and jokingly told him that this was the day and the seer replied that it was not over yet.

Julius Caesar’s death was the end of the Republic and the beginning of the Empire.

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Interview from SLAM #120

With their fifth album “Impera”, the Swedish rockers with an affinity for pop, herald a new, demonic age in their band history. The transition from the previous album “Prequelle”, at the end of which Cardinal Copia was elevated to Papa Emeritus IV, is eerie, ghostly and flowing. We chatted with Tobias Forge, the mastermind behind this embodiment of an anti-church, about the concept of the current output and its connections to the predecessors. In addition, the prince of macabre rock shares his thoughts on the story with us, explains where he finds inspiration for his often mammoth artistic constructs and gives insights into the musical demands of the new diabolical mass. But first, even the GHOST frontman has to deal with a few technical challenges and worldly problems…

Keep reading

#interview #slavghoul

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Article and interview from VISIONS 3/2022

Whether the Roman Empire or the British Empire, the rise of great empires in history has always been followed by their fall - and that is exactly the theme Tobias Forge tackles on the new Ghost album Impera. Accompanied by heavy riffs, but also some of the catchiest and poppiest songs in the history of the Swedish band, the songs take upon themes of religion, injustice, corruption and murder. Forge has also been influenced by the political developments of the past years. In the end, however, he maintains there is still hope…

Keep reading

#interview #slavghoul

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“The people seem to be really happy about it,” he says, but notes a catch – “every time we start a tour, an album cycle, there’s this tremendous amount of fucking push back. Always, always, always.”

Forge is referring to the polarisation around their success, criticism has followed Ghost’s footsteps, ranging from black metal purists to magazine buying mega-fans, turned off by the commercial appeal of the band’s poppy song-craft which channels the spirit of Blue Oyster Cult as opposed to Darkthrone.

“We get a tonne of shit because people miss what we used to do, and then in a few years they’ll miss what we’re doing now.”

#interview #slavghoul

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Heyoheyoheyohey—

#it’s been a while huh

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One of promotional photos for Tobias’s solo album Passiflora taken in April 2008 at the Omberg mountain in Sweden by his friend Emil and the album cover.

Passiflora was never officially released, but several songs from the album were available to listen on his Myspace page, including Lucifer et Lucia, The Breeze, House of Affection and Savant Garde. Unfortunately, the only songs to have survived online to this day are House of Affection and a live performance of The Breeze (often wrongly attributed to Magna Carta Cartel who indeed accompanied Tobias in the studio and on stage but weren’t involved in the writing process). Tobias played his first solo show with the help of Martin, Arvid and Simon from MCC on March 27, 2008 at the Linköping Konsert & Kongress where he opened for Swedish singer-songwriter Christian Kjellvander. He then went on to do a few more shows at small clubs & local festivals mostly in Linköping. Passiflora was set for a release sometime in 2008 but, for reasons unbeknownst to me, it never saw the light of day.

Here’s the story of how the album came to be as told by Tobias himself, taken from his website:

“I was born in Linköping, twenty miles south of Stockholm on March 3rd, 1981. Growing up together with my mother and a thirteen year older brother meant exposure to a lot of music, ranging from jazz and the classic sounds of the sixties in one ear, and seventies punk rock, new wave, heavy metal and the contemporary pop of the eighties in the other. All these different influences mixed with the more extreme underground metal I got obsessed with as I met adolescence in the early nineties has coloured my writing a lot. My record collection of references reaches from Abba to Venom, from Beatles to Bauhaus, from Jimi Hendrix to Hüsker Dü, from Pink Floyd to Possessed and lots more. I started playing guitar when I was eight years old, when my father taught me how to play “Tutti Frutti” and “Brev från Kolonien” (Cornelis Wreesvijk). With my new found knowledge and the message that most songs consists of the same chords I began trying to pick out all the songs I listened to at home, my first project being Kiss “Alive”. And some years later I began forming bands and trying to get them floating, which proved being really hard. And with no functioning band, there were few reasons to stay in Linköping…

Upon moving to Stockholm in 1997 and the formation of my first “real” band Repugnant a year later, all my efforts from now on were put into a musical career. During our six year existance we had four figure sales of demo cassettes, seven and twelve inch EPs. In 2002, we recorded our one and only full length album “Epitome of Darkness”, which was posthumously released in 2006. The band was officially put to rest in April 2004, after almost two years of almost total inactivity, apart from some smaller tours. Repugnant went through several line-up changes. Myself being musicwriter in chief and not always a very democratic initiator of the band, often lead to clashes with the other members. Something that unfortunatly kept occurring in the band that proceeded Repugnant, Subvision. With the intention of making something different than the death metal that I had become synonymous with, I wanted to create music with a slightly more melodic/pop edge (the wish was to make something along the lines of Voivod’s “Angel Rat” album from 1991, which is known as their pop/goth album). I formed Subvision in the end of 2002 and throughout our five years of existence, we released “The Killing Floor EP” (2004), full length album “So Far So Noir” (2006) and did loads of live performances.

After nine years living in Stockholm, I decided to move back to my town of birth Linköping in September 2006, hooking up with my friends in Magna Carta Cartel (to make a long story short). Following a period of writing during the fall, and demoing and rehearsing during the winter/spring, the recordings of a new album commenced in the early summer of 2007, a production which eventually ended in December the same year. Initially intended as the second album by Subvision, it was decided in early 2008 by the other guys and myself that “Passiflora” was to be my solo debut. And here we are…“

Influences: Tom Verlaine, Roger Waters, David Gilmour, Morrissey, Johnny Marr, The Doors, John Lennon, Paul McCartney, George Harrison, Syd Barrett, R.E.M., Echo & The Bunnymen, David Lynch, U2, Ennio Morricone, Angelo Badalamenti, Hüsker Dü, David Bowie, Blondie, Black Sabbath, David Grohl, James Hetfield, Mick Jagger, Keith Richards, John Frusciante, Robert Smith, The Misfits, Benny Andersson, Björn Ulvaeuz, Rick Rubin, Phil Spector, George Martin and many many more.

Sounds Like: “All the sad variety of hell”

#tobias forge #passiflora

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#tobias forge #music export prize

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Video of Tobias accepting the Music Export Prize (Musikexportpriset), with his acceptance speech around 1:35.

#tobias forge #video #ghost #musikexportpriset #music export prize

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Repugnant.

#repugnant #mary goore #tobias forge

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#tobias forge

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The statement from Ghost’s Instagram:

We wish to inform you Ghost has been declared the 23rd winner of the Music Export Prize in Sweden. Thank you for the continued support and kind words. From the jury...“Ghost has challenged audiences and created headlines ever since the band was formed in Linköping in 2006. Today it has fans all over the world. With its mythical and occult lyrics, cloaked in melodic metal, Ghost has gone from primarily being for the initiated audience – starting with debut album Opus Eponymous from 2011 – to today being one of the rock and metal bands with the broadest audience, regardless of category. In 2019, Ghost highlighted its position as world leader when it continued its world tour, ‘A Pale Tour Named Death’. When the tour concluded in Mexico City in March this year, it had reached a total of 137 stages all over the world.”

#ghost #ghost band #ghost bc #tobias forge #music export prize #music export #sweden