Album review by Cody-James Henderson
Do you ever think the varying amounts of Gods or even Satan himself ever take a moment to self-reflect on their lives so far? Do you think they look over old photos or memories with a mindset of just what went wrong? Do you think they write songs about it? Do they ever think “Maybe I should call them”? Who knows. What I do know is that when Ghost announced their 6th album Skeleta I was ecstatic. When I found out this was more an album of self, opposed to that of blasphemy and heresy (Yes, we will get to that) I could only be even more intrigued at the forthcoming record.
No Ghost record sounds like the other. Where its themes are recurring, its approach has gone from that of Garage Rock into Heavy Metal and even a trumpet or two along the way. There are songs to dance too, cry too, to be able to find faith or even lose it, but in the ever-evolving world of the Swedish icons, there is no distinct way to classify them. Having become a household name off their last few records, ‘Skeleta’ comes at a time where the band has found a peak level of popularity. But where will this 6th album take them? Beyond the level or left in the Mummy Dust?
Transcending us into the world of Skeleta the often intro track that sits separate to the official opening track, ‘Peacefield’ pre-games its 80s stadium rock operation with an angelic choir. Where the bands prior epic ‘Darkness at the Heart of my Love’ finishes the 5th psalm of the bands iteration ‘IMPERA’, ‘Peacefield’ dives straight back into one of the bands greatest strengths of a captivating opening track for its 6th. Where its instrumental captures that of Iron Maiden in literal tone, Forges vocality and melody reminds me that of Steve Perry from Journey and more specifically ‘Separate Ways (Worlds Apart)’. Forge is no stranger to his praise of influential acts of the 70’s/80’s (ABBA, KISS and Motley Crue to name just a few) and this can truly be seen on the second single from the album ‘Lachryma’. This stylised anthem touches right to the heart of any old school hard rock fan the way that Ghost have done so for the last decade, bringing old school influence too a new school audience.
The (literal) praise I have for this song cannot be overstated. The ability to write a chorus is something that can be so lost in Metal but with ‘Lachryma’ Ghost reach this almost “Alice Cooper-meets-The Cure” sounding platform that is multidimensional in its legacy of Gothic influence. Its chugs along exactly how a Ghost song is intended too but it reaches through the skin to bring out the heart of its listener whether it’s broken or not. This was a chorus written for the ages, to break the barrier of Arena Rock to Stadium Rock for the Swedish Icons. The same can be said about the albums lead single ‘Satanized’. The first instance of the album tapping into its darker side ‘Satanized’ that metaphorical song about the devil himself doesn’t have to be as brooding or edgy. It matches the sound that of the bands triumphant 3rd album ‘Meliora’ encapsulated so perfectly but presented for the literal masses and not those in prayer against it.
“That the road that leads to nowhere is long. And those that seek to go there are lost.”
‘Meliora’ was also one of the first instances of the band taking on ballads (He Is) and something that Ghost have chosen to dabble in since. Like its predecessors, Skeleta taps into this territory with ‘Guiding Lights’. Through just over 3 minutes, all the cliché ballad tropes are covered but oh so elegantly. As you refrain from raising your arms with a lighter of phone light at its swaying chorus, pay attention to the layering of vocal melodies that evolve throughout this one. While at times a more haunting vocal seeps through the verses, its hard to deny the talent of Forge as he embraces more projection through the albums duration. ‘De Profundis Borealis’ mixes slight signature changes that capture this journeyman epic perfectly. Where it may fool you as a following on ballad with its slow piano epilogue, it quickly transforms into classic Heavy Metal the likes of which Dio would adore. It gallops, it crashes through waves, braves the storm, scales the temple walls and all while embracing the inner travels of human emotions, it does it all.
“Wherever I go. You’re always there. Riding next to me.”
Never afraid to test the mould of what is “Metal”, Ghost presents us with ‘Cenotaph’. While the title means that of an empty tomb, there is something absolutely filling about the band going into major, positive sounding chords to bring something more like a Queen track that would otherwise feel out of place on a metal album. This is something you’ve never heard on a Ghost record before, and it absolutely shouldn’t work but it does? Where it still has Forges signature vocal charm, ‘Cenotaph’ is this almost happy-go-lucky 80’s pop rock extravaganza feels like its from a parallel universe. But the listening experience is so terrifically fun that I am so glad it exists. Especially combining its sensitive topic matter of continuing on after ones death, there is no lack of classic influence to capture the hearts and souls of listeners. You will either love it or hate, but you cannot deny the talent.
‘Missilia Amori’ (Love Missiles) quickly takes the listener back into slightly more haunting territory, but it is still retrospective of classical influence. For a man who is so happily married, Forge doesn’t lack the ability to convey disdain and heartbreak so powerfully. Where a lot of this album has felt more of an individual conversation had with oneself, ‘Missilia Amori’ tackles heartbreak in the same way ‘Lachryma’ does but in a more direct approach. Although not as captivating as the aforementioned track, its varying approach keeps the entire listening experience fresh and doesn’t replay itself for the sake of the same message.
If the Satanic Panic approach of Ghost is what drew you in, then the suitable titled ‘Marks of the Evil One’ will tickle you internally. It all familiar feel doesn’t necessarily make it a bad thing at all. It flows like ‘Kiss the Go-Goat’ and could absolutely fit in any post ‘Meliora’ release the band has curated. The ever-increasing plague like following of faithful fans will find as home in this one and feels deserving of visuals to further expand its worth.
Its vampiric solo work and haunting subject matter tick all the boxes Ghost are renowned for with a fresh hint of progression and lack of regression. ‘Umbra’ only further amplifies the haunting back end of the album giving the listener the epic visual of battle. The duelling of guitar and keys would be the standout instrumental part of this album if not for the incredible drum track that accompanies. There would be no stage big enough to accompany the amount of running back and forth one could do to try and convey this level of performance.
“Everybody leaves one days. I know it hurts. You will too, I will too.”
Three things in life are guaranteed, death, taxes and Ghost writing an awe-inspiring closer to a triumphant release. If the pain of heartbreak, self-worth judgement or doubt of life were enough to convey emotion from the listener, the six minute closer ‘Excelsis’ will spark your mind on the inevitable end of human life or life already ended. I sit here full of emotion having just lost a pet, but Forge approaches the topic of death with such sincerity that I hope something this beautiful awaits my boy on the other side. Suitably ending the track with “This is the end of the avenue. I am afraid of eternity too” Ghost sums up this universal fear with a level of understanding that poetically helps ‘Skeleta’ reach its finale.
Arguably the most mature work the level of the Devil has ever seen, Skeleta conveys a new level of Ghost that is built on foundations of the past that could never foresee this kind of future. Emotionally charged and primed for total world domination, Skeleta will transcend the psalms yet to be written to be scripture audiences will return to for decades to come.
OVERALL RATING: 10/10
