Over the last decade, Ghost has received some pushback and snarkiness for being called soft metal. The truth is, there isn't a lot of softness to them. At the same time, Tobias Forge and whoever he invites along to create albums have never claimed to be metal. The band is hard rock in the same way KISS wasn't metal for most of the 1970s.
Who needs labels, though? The music is what matters, and if a band plays with structure, that's fine. To paraphrase Huey Lewis, there are only two types of music: Good and bad. For nearly all of Ghost's catalog, even the B-sides, the music has been great.
Forge and mates (and all the Papas, including the latest, Papa V) might have reached their peak with the commercial and critical success of their most recent album, Impera. But Ghost has never taken albums off. They seemingly get better, tighter, and more unique with each album. Does the most recent album, Skeletá, change that trend?
Reviewing Ghost's Skeletá track-by-track
"Peacefield"
Setting the tone for the entire album, "Peacefield" brings Tobias Forge's late-1970s AOR love full frame. You might have heard this song before when Journey released "Separate Ways." That is not meant as a slight. Both songs are good. Only the Journey song did not begin with a full-throated choir.
"Lachryma"
The intro of this tune, like the record's previous track, is misleading. We get a feel for a short time that maybe we are getting back to pre-Impera tunes. We aren't. This tune is as close to metal as Ghost gets, and the video is fantastic. The track is fun, and hella fun to sing along with.
"Satanized"
Is this song about love or religious devotion? Forge probably doesn't care if you know or how you interpret it. The truth is that whether one thinks this is either, fans can worship at the shrine of Ghost. It is the kind of song no band can pull off as well.
"Guiding Lights"
Ghost transitions to a more 1980s metal feel on this track. The synths imply that from the beginning. The track is not exactly "He Is," but the sentiments are the same, and a church-y atmosphere is potent. But, of course, like every 1980s metal tune (Damn Yankees would be proud calling this song their own), the volume picks up about two-thirds of the way through.
"De Profundis Borealis"
Another false intro for track five. Maybe it feeds off the melancholy of "Guiding Lights," but quickly changes to a hard rock rager. Forge works his vocals differently than nearly any other song in the Ghost catalog. They are more understated and staccato. That is, until the sing-along chorus that should be excellent live.
"Cenotaph"
Perhaps the most playful and somewhat punky song on the album, the guitars appear intentionally tingy and overproduced. Again, the entire album makes no apologies, and Forge lays bare his love of AOR rock. As long as the music is excellent, and it is here, there is nothing wrong with the attempt. This is pure fun, and your 12-year-old self alone in your room in 1985 will adore this track.
"Missilia Amori"
If you love hair metal, this one is akin to your adoration. But Forge infuses some humor here as well. "Love rockets/Shot right in between your eyes." He had to be nearly giggling when he wrote that.
"Marks of the Evil One"
No false intro here. A New Wave-y tune mixed with metal. Think of something Billy Idol did on Rebel Yell, only with a lot more bounciness. And you dare not get the vocal cadence stuck in your head for several days. (You will fail in attempts to push back.)
"Umbra"
Perhaps Forge's most direct song about sex that he has ever written. He never gets crass, but there should be no mistaking lyrics like "In the shadow of the Nazarene /I put my love in you" for anything but carnal knowledge. The music somewhat belies those intentions, but in a perfect way. If you need more prog rock in your life, wait until about four minutes into the track, and you'll be satisfied.
"Excelsis"
Oof. After much happiness on previous tracks, Ghost ends the album with a song about death. It is slowly built, clearly sung, and beautiful. Heck, it could be easily believed that Ben Folds was a co-writer on this track.
I mean "Everybody leaves one day/I know it hurts/Everybody goes away/You will, too, I will, too" leaves no room for misinterpretation.
When the band plays this song in concert, have your cellphones ready so you can turn on the flashlight and wave your hands slowly above your head. Forge dispels any manufactured emotions from his Papa characters. The song is as real as Ghost has ever been.
Overall, the album is terrific, but there is no attempt to make new fans with it. This one is for long-term fans.