After months of build-up by design, the anticipation is over. Ghost has released Skeletá. I listened to the clear black and purple splatter LP version.I have watched Tobias Forge (different iterations of Papa) and his musicians on a successful journey. It has been one of musical development and, at times, some surprises. I also appreciate how Tobias has evolved his characters and ghouls with each album. It's a continual evolution. He has mastered combining audio and visual elements into one compelling package, which recalls acts like Alice Cooper, Kiss, etc.
Skeletá is an excellent recording and one that I am sure will continue to grow on me with each listen. When I get an album by Ghost, particularly starting with Prequelle, I cannot stop listening. I guess that is not bad; it's rare for me to do that. So, in essence, that is saying that their music hooks me and holds on. I imagine that would be the goal of any artist putting out their music.
Skeletá, with its highly advanced and complex sound, is a treat for music fans who appreciate intricate compositions. The album's incorporation of classic rock influences, the addition of synth or gentle keys, and the unexpected twists and turns make for an absorbing and intellectually stimulating listen. The significant change in Ghost's sound began with Prequelle and has gradually progressed, incorporating several elements without losing its harder edge.
Fans who appreciate the heavier, darker, satanic Ghost with earlier albums will likely find this release more polished and complex, and it is; however, Papa has kept intact the central theme that Lucifer, Satan, the Devil, the evil one, the one with many names, etc., is his god. It's woven throughout the lyrics and considered love and light. That is the singer's viewpoint; you can take from that what you wish and leave the rest. Everyone believes in something; if it helps you, so be it. I know one thing for sure: the music is mesmerizing.
This leader, the newest version, Papa V Perpetua, the creator of Ghost, takes their music to new heights and complexities, with different twists to keep it interesting from start to finish. And that is precisely what happens in the 10 tracks offered on this LP.
From a lyrical standpoint, Skeletá presents two distinct voices. One is love and light (although from a place that is not typically spiritual), while the other, more characteristic of Ghost's content, is dark and satanic. This lyrical duality may throw off or confuse some listeners with specific expectations, but it also invites them to interpret and appreciate the points from both voices. It's a musical journey that leads the listener to the spiritual and warm (whatever definition that may be personally), or the dark places of the heart, where the devil roams and leads those astray, or to the light.
Side A begins with "Peacefield." It starts softly, then a melodic guitar (which heavily populates this album) joins in. Tobias sings, "We all need something to believe in when it's over (assuming he is talking about death), until it's over...." A good guitar solo enters the mix (again, something you hear often!). The music arrives at a point where it all comes together based on their strengths, using the melodicism and heavier riffs with just the right mixture.
"Lachryma" has a heavier sound and darker subject matter. It switches to melodic guitar runs and then goes back again. I have become accustomed to this formula of their compositions, except each successive release gets a little more interesting and intricate, as this song shows.
When I first heard "Satanized," I found it fascinating. The title is meant to make you hear and see the word "sanitized" initially. This, in essence, mocks the church and all its hypocrisies. There is a great bass line playing as the words like "A demonic possession like never before" ring out with the power of the music. The drumming is exceptional throughout this recording, and the bass becomes a partner to be consistently counted on. Here is another example of how they have streamlined a song without giving up the heavy metal core. Most excellent!
"Guiding Lights" features a nice keyboard that starts with an acoustic guitar. The words pour out of the singer's soul, such as "The road that leads to nowhere is long; those that go there are lost." There is another build-up here to a fine guitar run. Is the light leading them down the hopeless path? Who is light? Is it God? The Devil? Another false prophet? You must decide how it may or may not apply to your life. The bottom line here is that it is a great track!
"De Profundus Borealis" introduces a piano and some lovely playing to set the initial mood, marking a departure from the previous tracks. Then, the explosion we love about Ghost roars in. The instruments enter loudly, and the playing gets fast and furious as the words are food for thought, like "See the palace full of frozen tears." The musicianship is precise, but a classic rock influence creeps in, and at one point, a guitar passage reminds me of Iron Maiden. The album's musical diversity, from the piano to the classic rock influence, keeps the listener engaged, and side A closes out on a high note.
Side B kicks off with "Cenotaph." It begins very differently from all the previous tracks. Then the chugging, meaty guitar lines fill all the space as the bass and drums keep steady and strong. The classic rock sound is all around the peripheral as the keys come sprinkling down like drops of rain. The opposing forces play off each other (musically) for a symphony of dark beauty. Some lyrics are full of romanticism, such as "Wherever I go, you are always there riding right next to me." Again, your interpretations may differ regarding the lyrical prose offered for digestion.
"Missilia Amori" uses a cool guitar riff dissimilar to anything else thus far to get your attention. The rhythm section continues to be amazing, which I feel is the key foundational aspect of this music. The keys once again provide a lighter layer; however, do not be misled by that subtlety, as the words bite with anger like "Wherever you may hide away, I'm gonna hunt you down." The literal crescendo of the musical once again puts the spotlight on the completeness of their musical talents at every position.
"Marks of The Evil One" is Ghost at their core best. It starts strongly at the outset. And you would not expect anything less, considering the title. Some excellent drums, along with the bass, drive this and keep time beautifully. The Four Horsemen of the Apocalypse of death and destruction become part of the song as they serve as the messengers and deliverers of the wrath of the evil one. Once again, we have the keys to add that layer to make their sound more crossover accessible, regardless of the lyrics. This one has an ultra-cool synth sound, a great guitar solo, and the locomotive rhythm section that gets it across the finish line.
"Umbra" may be the biggest surprise on the entire album. The way it starts with an unusual synth and keys, beginning things, reminded me of Pink Floyd or bands with similar sounds. Things change quickly as their sound takes over with a cowbell! (Where is Leslie West and "Mississippi Queen!") The guitar sounds dirty as he sings, "In the shadows, death becomes your lover." It doesn't get much darker than that.
Things move along quickly, and the music is loaded with hooks. Tobias sings in his lower register, then switches to the higher end once the music changes tempo. He is a gifted vocalist. Significant changes happen as the keys and guitars roll along with the bottom end. This was very different and quite good, and it was an excellent example of how far this music has come over the years. It showcases their ability to stretch out and take a chance, resulting in excellence.
"Excelsis" surprisingly closes the album softly with an acoustic guitar, with lyrics like "Come with me to the rainbow's end" and "Come with me to the holy land." Wait, this is Ghost? Indeed, it is, and as far as the singer is concerned, his picture of the rainbow's end is his own, as it will be yours based on your thought process as the words hit home (I don’t believe the end is heaven based on the lyrics and theme throughout this album).
A Ghost ballad to end a heavy metal and rock album? Yes, it ends this way, leaving you scratching your head. But wait, the music gets to another level if you hang around with those excellent melodic guitars weaving their spell. The final words are "I am afraid of eternity, too." So, there you go, more food for thought.
What does eternity look like for Tobias Forge or you?
Ghost music is exhilarating and breathtaking on Skeletá. Mastermind Tobias Forge is cerebral with his lyrics, and the music has gained more intricacies with time. After considering every factor, I would say that Ghost has progressed with every release, and this is their best so far.
Keith "MuzikMan" Hannaleck-MuzikMan.net Founder
Tracks
Side A:
1. Peacefield
2. Lachryma
3. Satanized
4. Guiding Lights
5. De Profundus Borealis
Side B:
1. Cenotaph
2. Missilia Amori
3. Marks of The Evil One
4. Umbra
5. Excelsis
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