GHØSTKID is the new namesake of Sebastian “Sushi“ Biesler (formerly Eskimo Callboy) and a conspiracy of friends and likeminded allies who have come to a riot of their own: Steve Joakim (drums) from Sweden as well as Jan Marco Heinz (guitar) Chris Kisseler (guitar) and Stanislaw Czywil (bass).

The new noise commenced in October 2019 when Sushi picked up a guitar and started writing for GHOSTKID. GHØSTKID wasn’t merely an outlet – it was in his DNA. “I just followed my heart”, he says. At that point Sushi was inspired by a steady diet of Marilyn Manson, Fever 333 and Bring Me the Horizon, all of whom inspired him to meld together sundry sonic shades, touching on pop, metal, industrial and a hint of trap. It was the foundation for the shape of rock to come. No mean feat for the Sushi, who initially started out as a guitarist, but when the original singer of one of his previous bands dropped out during a recording session Sushi simply picked up the mike. “I love both roles”, he says. “Actually, whenever I am playing guitar I miss singing, but I also miss a guitar in my hands when I am just singing.”

Cut to the fall of 2019. It was time to really start from scratch, to tear it up and start over again. Christoph Wieczorek (Annisokay) and co-producer Phil Sunday joined up to start rewiring Sushi’s sonic interface which would begin spitting out GHOSTKID’s anthemic data-flow. Finally, renowned producer Sky van Hoff (Rammstein, Emigrate) came aboard to hammer into shape what would become GHOSTKID’s self-titled Century Media debut.

Sushi delivered on GHOSTKID’s album with a laser-focused vision. And a lot proverbial blood on the tracks. “I am looking back to a very intense time when I learned a lot about myself”, he explains. Joining the aural fracas are Marcus Bischoff of Century Media labelmates Heaven Shall Burn on “SUPERNØVA” and the legendary genre-smasher Mille Petrozza on “CRØWN”. Upcoming are two versions of “THIS IS NØT HØLLYWØØD” – one with Timi Hendrix from Trailerpark and one with Johnny 3 Tears from Hollywood Undead on vocals.

Once you immerse yourself in the layers of noise and ambition, it’s really no surprise that Sushi has successfully morphed into the entity known as GHØSTKID. “It leaves a lot of room for interpretations while you immediately associate certain imagery with it,” he says. Warning: this is music that doesn’t merely haunt your sensibilities. It’s a full-blown aural exorcism and a deafening harmony in your head.