Ghost “Skeletá”
By now you’ve seen the videos, the new image, the new ‘shock horror’ partial face exposure. Behind that, what you may have not seen is the shift in Tobias Forge lyrical content. Plagues? Been done. Systems controlling the world? Old news. This newest incarnation of Ghost is introspective, honest yet still undeniably Ghost.
As the album opens with a choir introducing Peacefield, the 80’s rock sound perfected for a modern world seep through, the pervading feeling is where can Ghost go from here?
For Forge has been at the forefront of this sound for a decade and more – the glossy production, the glam rock guitar solos, the lush vocals and hooks big enough to catch Jaws that now – six albums down – it is probably time to get a bigger boat.
That is what this album is. The band are already selling out arenas around the world, the production stadium worthy, it’s time to double down on the content and creating lyrics that almost seem autobiographical- loss, love, hate – will cement that position.
Recent single Lachryma a perfect example. With the new image, vampire led gothic art, is at its core a song of lost love. The hook filled chorus, the harmonies abound making light of a dark subject in the way that Ghost does expertly.
Satanized delves deep into the bands history of 70’s rock – today’s Blue Oyster Cult – as it digs the playful satanic element with lyrics like ‘I should’ve known not to give in’ and ‘save me from the monster that is eating me’.
So three songs in, we are learning there is nothing groundbreaking here, no new styles, no change in direction however that doesn’t mean the songs are not stadium worthy and in Guiding Lights, Ghost continue to show they can write epic ballads unmatched by anyone in today’s musical world.
Forge – emotional, raw – backed by ascending guitar solos, uplifting harmonies, and orchestration, delivers a camera lit classic for the ages.
The AOR 70’s vibe comes back on Cenotaph as the keyboard led solo over the Children Of The Grave inspired riff mixed with Quo boogie, means this grows into a stomping raucous tune that needs max volume to be appreciated.
It’s impossible to not visualise these songs being played in the enormous domes of America, they all seem tailored made for them.
With each song seemingly about a person who was close, a lot of these songs could be love songs, however it’s doesn’t mean it’s maudlin. Take ‘Umbra’ for example, a cool riff, a cowbell and a firework chorus all lead to a duelling solo between guitar and organ that takes you back to a time that the ozone died due to how much hairspray was used.
Finishing with epic Excelsis, Forge sings ‘come with me to the rainbows end’ as the sounds the previous nine songs converge into one. ‘Everyone leaves one day’ Forge crackles to close.
This album is unlikely to convert any new fans; it will though nudge those on the outside in.
For existing fans, it’s a sure-fire success of anthems, catchy one liners, harmonies, and sonic orgasms. It’s lush, grandiose and sounds worthy of how huge Ghost are. Already arena filling, this could be the beginning of the bands Bon Jovi era. It is going to get wild in the streets.
Album Review By Iain McCallum
SKELETÁ – OUT APRIL 25
VIA LOMA VISTA RECORDINGS
