ALBUM REVIEW: Ghost - Skeletá
With less than two days before the album release, Peacefield revealed itself as the leading track on the album at number one. Introducing itself with a serene choir vocal placing the listener in the satanic church once again. This was also the introduction at any of the live Rituals within the UK tour, a sweet treat for concert goers.
The track cuts to Van Halen /Journey inspired guitar and synths opening the first verse with Iconic Tobias Forge’s vocals, polished and made anew for the new Papa V Perpetua character.
The chorus is a powerful fist-pumping 80’s styled power stance // ballad that easily worms into one's head. I love that it’s a hard hitting riff with an edge with big spacious percussion and colossal grooving bass lines.
It is somewhat a combination of 80’s bands such as Kiss, Alice Cooper, Def Leppard, Journey etc. You can hear all of the big heroes from that era in one song laced in the electrifying guitars and soaring synths.
Peacefield also has that fatherly love in the lyrics similar to Little Sunshine from IMPERA, with so much hope and triumph. It feels very uplifting, stating all that is bad, fallen monarchy, death, outsider control, however, it is hope and love that ultimately prevails. I’ve personally had it on repeat for days and I never fail to shed a tear at the pure healing that this track gives me as a big fan. It is ultimately a favourite of mine from this album.
Taking on a darker tone, running into familiar Ghost territory, Lachryma bites hard, following the imagery of some sort of monster in the night waiting and stalking to feed its prey (Most likely a vampire) As referred to in the music video of all things glamourous and bat-like. The imagery is reflected within the doomish guitar riffs and tones.
I like that the synth is a little more subdued in this with a ghoulish resonance, with guitars and drums taking on a chuggier sentence within the pre-chorus creating a surrounding sense of impending doom before the chorus outshines and uplifts. It pushes the idea that the victim of the monster in the narrative is now done crying and running away and is ready to face that monster, whether physical or inner.
The soloing comes back to soar at peaks higher than before and the vocals within the last chorus reach new range and key changes that even the longest fan is instantly impressed by.
It’s one of those easily singable songs that get stuck in your head and I’m finding myself stuck in the loop.
This then goes into the stern but playful Riffs of Satanized that i’m still absolutely obsessed with since it came out. My views haven’t changed in the few months that have passed since it has been released, so I’ll redirect you, dear reader, to the Single Review.
Guiding Lights Changes pace and contrasts to the previously taking on a slow powerful 80’s romantic ballad, however, sounds very light hearted and hopeful, in a complete opposite direction to Satanized. I picked up little hints that the songwriting is almost like a religious hymn before swerving into popularised conventions.
I love that the acoustics portray an almost lute sound, paired with organs to give Ghost that ancient touch. The break in the chorus that pave the way for the shining light on those Van Halen inspired solos that soar through. It’s a song of choosing the longer path, the harder path that will inevitably mean sacrifice, however, the Guiding Lights will be there to support the wanderer on this path and ultimately fulfil with hope and enrich the wanderer on his journey and therefore will fulfill him with reward by choosing this path.
A very rich and humbling song but so powerful.
Opening with such devastatingly beautiful piano, De Profundis Borealis, Creates the biggest bamboozle as it crashes into that iconic Ghost sounding riff and synths, those boisterous drums and an impatient build up to the verses. This song feels more like an old poem rather than constructed like a traditional popular song. The elements flow forward rather than reverting A and B. I like that it breaks away from that to highlight more of the music and artistry than to create something simple and catchy.
Cenotaph Bubbles though with friendly synth, squealing introduction of guitar and galloping rhythmic guitar and bass, cymbals patter on in irritation before introducing the big snare and even bigger cheesier riffs. There’s so much build up in the verses, it’s quite rewarding to hear in the chorus sections and the soloing and how it progresses. The Chemistry between all the instruments flows seamlessly. It’s present and lively - exactly how Ghost intended for this song and album to be.
Missilia Amori - Literally meaning Missiles of Love… or as we know.. Love Rocket. Delves a little bit deeper and darker than the previous tracks. It takes a very serious tone. I know from my many years of following Ghost that they take love very seriously and place it upon a pedestal. It’s a very strong track, with a solid groove. It has everything from the fist-pumping elements and the big 80’s drums and iconic singable lyrics. I know this would translate amazingly to a live audience and how the Ghouls would interact with each other onstage. Ghost has hidden meanings with their songs and this one fits the bill through and through with what Ghost offers. If you Know, you Know.
Misillia Amori, has unforgettable hooks and choruses of which next to Peacefield, makes it another of my favourites on the album.
Introducing itself with intricate theatrical synth melodies, Marks Of The Evil One gives me the vibe of Jeff Wayne’s War of The Worlds It’s written so well, so easy to follow the story, it’s so fun, and impressive to hear the virtuoso elements come together, the melodies merge and follow on from each other. It’s a track I’d describe that, although is so brand new, it has such a strong nostalgic feeling, it’s a track that I could just hear my Dad sing about the house, because it fits so perfectly into a time that I myself didn't exist. It’s very catchy and singable, and captures the unserious side of Ghost.
Following on with those heightened synths, supported by warmer pulsating arpeggiated synths and choir vocals Umbra also catches you off guard swerving into those big 80’s drums, complete with cowbell! (bonus points!) and those bad ass guitar riffs.
In the Same Ghost coded, dark - to Light imagery and sound Umbra has a loving aura, in contrast with the previous track this feels like it overcomes that monster and evil one it spoke of. That light prevails over all. A very enlightening and once again musically impressive track. The break in the middle has a conversation or rather a battle of skill between guitar and synth that flirt amongst each other with riveting galloping guitar that waits patiently before the ultimate explosion and final chorus. An Awesome track indeed.
Excelsis is a heart-melting track. So lovely and gentle. It brings that fatherly love back to the fold and doubles down on the philosophical Momento Mori - everyone dies or in this case leaves or something ends. It feels like gentle permission to move on, to ascend or excel beyond the current. It is the perfect track to end the album.
The overall album is so different compared to its predecessors, and rightly so as we’re moving through a new era, it feels mature and slower and I feel this album was written much more with the idea of being present and just being in the moment as from the past experiences Tobias Forge has had this idea of being much more present with his audience and taking the steps to reconnect with the crowd.. As he once stated in an interview. This album feels very at peace and intentional.
I feel the album, If it existed in the 80’s would very much camouflage with the era and would be an album that would be highly loved and spoken about right into the modern age. A Much older generation would say it was better times, lack of technology meant to be present and enjoy things and that’s what this new album cycle is preaching.
The lengths of the songs too aren't for the weak, it takes patience to get the hooks and the progressions to get there is what I enjoy. Amongst my peers much controversy sparks against showcasing intricate soloing “Fret wanking” (if I take a direct quote) makes a song boring, however, I think Ghost finds a good balance between that and the main point of the song. There’s the big band and choir and all the decorative elements and they have the quieter moments and breathing room. All round brilliant composition writing.
The lyrics go from modern conventions in bigger songs to poetic and almost biblical verse or sermons. Every element that Ghost reaches out to makes it work in context.
Although, it seems that Ghost have taken a step back and delved into the roots of a very familiar era of music, it is also bigger and more intricate than ever. I’m excited for what’s to come for Papa V Perpetua and how this character is going to further change the sound of Ghost.
It’s only 5 months into the year and I may have found my most favourite album of the year.
