Ghost – Skeletá
The project of Tobias Forge has grown into a true stadium act in recent years, well almost, because next month they’ll be performing ‘just’ at the Ziggo Dome. Who would have expected that 15 years ago when debut “Opus Eponymous” was released? Certainly not Tobias himself. For this new work, the name and appearance of the singing pope has changed once again, now from Papa Emeritus IV to Papa V Perpetua. That childish, almost literal puppet show can honestly be stolen from me, it only distracts from the music. Just like the awkward, very irritating theatrical pieces that interrupted the otherwise excellent concert film “Rite Here Rite Now” (2024) so annoyingly that it seriously spoiled the viewing pleasure. But anyway, for the younger fans this is probably an attraction of the Ghost phenomenon that shouldn’t be underestimated.
Anyway, with “Skeletá” we’ve arrived at album number six in the victory march. At first listen, everything is just a bit smoother, more uniform and (even) more accessible than predecessor “Impera” (2022). But after several listening sessions, this one also contains enough hooks that remain in the brain, or musical earworms. Once again, there are plenty of seventies AOR influences underlying the songs, and one chorus is catchier than the other. The production and mix are sublime, thanks to Gene Walker and Andy Wallace.
The advance singles “Satanized” and “Lachrima” already showed little surprising, but both are simply fine mid-tempo swayers that excel in both chorus and (twin) solos. Although the second one does somewhat resemble “Rats” from the predecessor. Opener “Peacefield” sets the creepy tone through children’s voices, but quickly transitions into an accessible melodic eighties rocker. But it doesn’t match previous heavier album openers like “Rats” or “Kaisarion.” In “Gulding Lights” the first power ballad comes along with such a sweeping lighters-in-the-air chorus. Will do well live, beautiful song!
The amplifiers are thankfully turned up a bit more in the uptempo and finely riffed “De Profundis Borealis,” which also features fat drumming. During typical and therefore hardly surprising songs like the light-footed “Cenotap” or the mid-tempo pounder “Missilia Amori,” my ears perk up especially during the beautiful guitar solos. It remains unfortunate that they remain ‘Nameless Ghouls’… “Marks of the Evil One” we’ve also heard before, at least, it’s Ghost by the book, but it’s simply a really nice fast track with again a long (twin) solo.
The finale consists of two longer songs. The varied “Umbra,” featuring a beautiful intro, finally draws from a slightly different and therefore welcome source. The break after a good three minutes leads to a nice and indeed significantly symphonic duel between the guitarists and keyboard player. Ghost goes prog (or Deep Purple), delightful, do more often! Closer “Exelcis” is unfortunately a rather slow (yaaaawn) and somewhat cringe-worthy somber ballad, which takes far too much time to get going, causing the album to end like a proverbial damp squib.
With this “Skeletá,” Ghost focuses even more on the melodic and commercial side of their sound. That’s their good right and it also delivers a fine album full of catchy sing-alongs, but it does miss the variation that characterized previous albums. The ‘Ghost-sound’ is now defined (or chewed out) and is slowly asking for a fresh injection of inspiration. Hopefully Tobias Forge finds it in time for the successor. But these songs will still set Ziggo on fire, if only because of the beautiful guitar work. (8/10) (Loma Vista Recordings)
