Ghost – ‘Skeletá’ album review: Fleeting charms of an empire in decay
THE SKINNY: To the sceptic, the concept of enjoying music has always seemed like a manifestation of hedonistic desires—wayward, misled groups falling off the precipice of the right path and into something dangerous. At its core, this has always been the appeal of Ghost, its tongue-in-cheek leader, Tobias Forge, commanding a place and a spotlight where these so-called Satanic desires can thrive, offering a taste of the Other Side as a theatrical haven where fun reigns supreme.
From the early days, as mere rumblings in a MySpace age, Ghost were the very thing metal elitists hated— a force of a melodically charming, 1980s-inspired cocktail that sparked deeper learnings about what it meant to enjoy music in an increasingly warped and convoluted political landscape. Beyond the catchy hooks, Forge’s lyrics challenged descriptions of empty “Scooby-Doo chase music” (as critics deemed them back then) with musings about life in an age where monarchies, empires, and flawed leaders prevail, inviting an escapist patch where it’s okay to challenge, feel, and forget about your own darkness.
In other words, Ghost created the perfect world. Rife with extensive lore and intricate layering of different characters and frontmen that others would deem “niche” or “cultish”, the music pulled you in, telling you how okay it was to not know everything and to feel revolted about the world around you. An extension of the sugary glimpse provided by Subvision and records like So Far So Noir, Ghost arrived with legs, burning a riptide in Forge’s inability to gain traction elsewhere with soaring tracks like ‘Stand By Him’, ‘Elizabeth’, ‘With Image’, ‘Ghuleh / Zombie Queen’, ‘Absolution’, ‘Zenith’ (hands down their best-ever track), ‘Year Zero’ (a close second), and more.
Even Impera—the record more divisive than what early loyalists had embraced—had its countless “wow” moments, with equally astounding lyrics that showcased Forge’s socially conscious adeptness just as much as his musical precision. After all, this is the man who randomly came up with the ‘Cirice’ riff in a park with his kid, soon turning it into a Grammy-winning anthem that feels intimate yet beautifully far away. Then came the drought, as Ghost fans waited—poised—for whatever direction would follow the incoming regeneration of Papa Emeritus IV into Papa V Perpetua.
But with Skeletá, adopting a new leader wasn’t to be the only change, with Forge promising a new direction that veered away from front-facing political commentary and a more inward, introspective approach that tackled the broad spectrum of human emotions. While that’s not necessarily any cause for trepidation coming into Skeletá for the first time, it certainly sets up an element of intrigue, one that’s difficult to decipher on first listen alone.
After multiple listens—of which Skeleta warrants excessively, not necessarily for enjoyment but more as you wait, and wait, and wait for it to click—the record seems to venture further away from prying arms, leaving you desperately attempting to clutch at its unmistakable promise, with desires to devour each track the same way songs like ‘Mary On A Cross’ and ‘Square Hammer’ guarantee, no matter how many repeats. Only this time, it’s not meant to be.
That’s not to say that some parts of the record aren’t good. In fact, some, like ‘Lachryma’, ‘Satanized’, and ‘Umbra’, are magnificent and effortlessly reach Ghost’s soaring standard, with others, like ‘Peacefield’, floating in with notes of memorable charm and undeniable longevity that bring the rest of the record up. However, the all-too-familiar sound of Ghost feels less like a considered attempt at refining a signature style this time and more like someone scrambling to rekindle a flame long lost in the ashes of Impera.
For fans of: Loose imitations of ’80s stadium rock.
A concluding comment from a cliché: “They don’t make ’em like they used to.”
Skeletá track by track:
Release: April 25th | Producer: Gene Walker | Label: Loma Vista
‘Peacefield’: Hearing this track for the first time at the band’s opening show in Manchester felt inexplicably exciting. Whether it stemmed from the excitement of the unknown or something less easy to put your finger on, being immediately gripped by ‘Peacefield’ was easy. However, it’s difficult to shake the comparisons to other, better Ghost songs, leaving this one lingering somewhere disappointing. [2.5/5]
‘Lachryma’: A song that’s easy to revisit time and time again, there’s no denying the appeal of ‘Lachryma’. From the opening notes, it feels like a journey into those familiar Ghost sensibilities, with a heavier riff and even more compelling melody that stays in your mind for days. The album highlight, without a doubt. [4/5]
‘Satanized’: A track that could easily fit on an earlier album, ‘Satanized’ is a delight. It’s a more simplistic display of everything that always made Ghost so great, but endearingly so, and one that immediately provides a glimpse into the elements of Forge’s genius mind that keep you intrigued past the third track. [4/5]
‘Guiding Lights’: A slower, more considered track akin to Ghost’s previous gems like ‘I Believe’ and ‘He Is’, ‘Guiding Lights’ shows promise with an extraordinary vocal delivery and a glorious slow-build, but somehow still seems to fall flat with attempts to appease that familiar magic Ghost promised time and time again. [2/5]
‘De Profundis Borealis’: Another that could initially be caught on a couple of albums back, ‘De Profundis Borealis’ maintains that inexplicable charm, pulling you in with a force filled with all sorts of promise. Had Forge not set a monolithic bar with countless other tracks, this song would seem even better. However, although good in obvious ways, something still seems glaringly absent. [2/5]
‘Cenotaph’: One clear positive about Skeletá is that Forge’s multitude of influences are present. With ‘Cenotaph’, it’s almost overwhelming how many different familiarities are heard, from typical ’80s stadium rock to sprinklings of ABBA. Strangely enticing in a sugary-sweet way, ‘Cenotaph’ grows upon every listen. [3/5]
‘Missilia Amori’: It’s no secret that Ghost thrives in its own headiness. Whatever label people attempt to force onto them—pop, rock, metal, and so on—doesn’t matter when there’s a good, weighted riff, intriguing lyrics, and endearing melody. Usually, that’s all the boxes Ghost need to tick. ‘Missilia Amori’ is good, but almost feels overlooked by the explosiveness of previous tracks ‘Lachryma’ and ‘Satanized’. [3/5]
‘Marks of the Evil One’: Almost Subvision-esque sonically, ‘Marks of the Evil One’ feels a little too much like another attempt at a stadium-level anthem without much substance to really lock you in for the long haul. [2/5]
‘Umbra’: Unmistakably Ghost in execution, ‘Umbra’ is a beautifully constructed, straight-up Ghost composition, complete with that underlying comedic subtlety. Perhaps that’s what the rest of the record is lacking, making it feel somewhat diluted as a collective piece of material. [3/5]
‘Excelsis’: A notable album closer akin to film end credits, ‘Excelsis’ is nice while it’s on, but immediately forgettable once the needle stops. [2/5]
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