Text by: Matheus Baima de Andrade and Pedro Benite Lopes, from the Ghost Brazil IG (@ghost.brazil)
Being invited to write a review is, above all, an honor. The opportunity to analyze and explore a musical work, to share impressions and feelings about it, is something great, but also a challenge. After all, how do you translate into words what, by definition, is felt? How do you express an opinion when the impact of an album is still being digested?
Art is not absolute. Its appreciation depends on individual experiences, the life stage of the listener, and the surrounding circumstances. There is no bad music—there is only music that resonates differently with each person. What may seem mediocre today may sound brilliant tomorrow. And perhaps that is why Skeletá Ghost 's new album , carries a special weight: it is, at the same time, the album furthest from the band's traditional identity and, paradoxically, their truest work to date.
The new face of Ghost
There's no denying it: Skeletá is the most dissonant album in Ghost's discography. Sonically and lyrically, it distances itself from what Tobias Forge had built up until then, although it still has one foot in the band's past. The 80s influence, although already present since Prequelle (2018), reaches its absolute peak here, but the difference lies in the intention behind the composition.
Tobias stated that this is an introspective album, reflecting universal human feelings — hope, love, friendship, hate, self-deception. Previously, the concern was to maintain the essence of Ghost, reinforcing its theatrical and mystical concept, but also its political one, addressing social issues, as done in Impera (2022). Here, by detaching itself from that need, Forge delivers a work that, by not sounding like a Ghost album, ends up being the band's most sincere to date.
Track by track — A detailed analysis
The entire album draws heavily from 80s rock, sometimes even excessively. Skeletá is Ghost's first album without instrumental tracks, something that hasn't happened since Infestissumam (2013). This work features moments of innovative brilliance and others of little risk-taking, firmly rooted in clear references to 80s bands. Let's break it down:
“Peacefield” opens the album with children's choirs, an element reminiscent of Ghost from Infestissumam — a connection to a past that many missed. The chorus, however, evokes both nostalgia and strangeness. Its similarity to Journey is a pleasant nod to those familiar with it, but at the same time, it breaks the immersion and constantly refers to another song, disrupting the initial experience. Initially, it felt strange, but after repeated listens, the impact was more positive. Despite this, it's undeniable that the song brings grandeur to the album's opening; an arena-worthy song, worthy of opening the tour, as they do with each album cycle. The final section lifts the morale and spirits of the fans with “ We are legion, join us! ”.
“Lachryma” is one of the heaviest tracks on the album – both in its guitar riffs and theme – because it focuses on subjects like “hate” and “self-deception.” It’s a track with much more emotional appeal, probably the most sentimental on Skeletá , and even by Tobias himself, who has said in an interview that he places a lot of expectation on this particular song. Ironically, however, it doesn’t stand out as much. The song’s structure is predictable, and minutes after listening to it, its impact dissolves. It’s a competent song, but without a striking identity. However, its guitars deserve praise; here we have one of the best solos on the entire album, perhaps second only to the solos on “Umbra.”
“Satanized ,” the first track released before the album launch, was a perfect choice. The theme, lyrics, and sound are reminiscent of classic Ghost: religion, Latin, a grand and captivating chorus. It's the composition that most aligns with what fans expect from the band, securing its place as one of the album's highlights. The song's theme is a beautiful nod to the Opus Eponymous (2010), while the musicality is a nod to the Meliora (2015). Certainly, the bass line in this song draws inspiration from Michael Jackson .
“Guiding Lights” presents itself as a ballad with emotional impact. The phrase “ The road that leads to nowhere is long / And those who seek to go there are lost ” is a shock of reality, a direct blow that transcends the song. The choice of soundtrack for Arcane , a Netflix , missed a great opportunity by not including this track, as its message would fit perfectly in the series. It's a song that has good doses of AOR ( adult-oriented rock ), however, apart from its chorus, the track doesn't hold up with the same strength.
“De Profundis Borealis” has been winning over audiences, but it didn't have the same immediate impact. Its lyrics are profound and moving, but musically it doesn't stand out as much as others on the album, and only with time does it grow (perhaps too much) in the listener's perception, easily becoming a favorite. The ending of the song sounds a bit like it wasn't finished; it could be a little longer. Perhaps it's the most Meliora-esque on the album.
“ Cenotaph” is a very peculiar song. Initially, it's one of the least memorable tracks on the album, but ironically I found myself singing “ Wherever I go, You're always there, Riding next to me ” several times without realizing it. However, between writing and revising this review, upon listening to it again, it sounded much better than the first time, and I wouldn't be surprised if, over time, it ended up becoming one of my favorites on the album. It's a song with a sound that strongly resembles ABBA and Queen , whose melody certainly uplifts and gives that feeling of hope that many need.
“Missilia Amori” is one of the best tracks on the album. Yes, it's generic 80s rock, but it's incredibly well executed. Its energy is reminiscent of bands like Kiss and Def Leppard , carrying a strong sex appeal , especially when combined with “Pour Some Sugar On Me”. Proof that well-done simplicity can be as impactful as something elaborate.
“Marks of the Evil One” is, without a doubt, the best track on the album. Its chorus is instantly catchy ( There! There! The Marks Are Spreading Everywhere! ), the verses are great, and the lyrics allude to the biblical book of Revelation. A song that sounds like classic Ghost, but updated. A surprise that not only stands out within the album, but could easily compete with “Square Hammer” as one of Ghost's best songs.
“Umbra” has been one of the most talked-about songs among fans, and it makes sense; a strong chorus, a theme blending the dark, the carnal, and the religious, the use of a cowbell , a powerful guitar and keyboard solo à la Deep Purple/The Doors , and guitars that strongly resemble Mötley Crüe . In “Umbra,” the band shone with its conceptual success. With heavy doses of AOR, it's the album's “different” song, which is 80s like everything else, but perhaps another facet of the 80s, like, 80s². I don't know if it only happened to me, but the introduction strongly evokes science fiction films full of spaceships. It's destined to become a regular feature in the band's setlists for years to come.
“Excelsis ,” the final track, seems to attempt to follow the pattern already established in previous album finales: a grandiose, colossal, and breathtaking ending. It tries, but fails miserably. It's definitely not the most impactful finale. Despite the great emotional and sonic depth inherent in a typical Ghost finale, compared to other closing songs, “Excelsis” proves predictable and easily forgettable. A good, solid song that fits perfectly within the album's context, but it's definitely not the band's greatest or best finale.
An album to be savored over time.
Skeletá has its merits, which are clear: courage to experiment, more human lyrics, impeccable production. Tobias Forge has certainly created a human album, in the purest sense of the word, and like humanity, it delivers ambiguous, sometimes uncomfortable feelings, but always tries to tread the right path, and, although it fails at times, it succeeds at others.
The album certainly divided opinions very clearly among fans: it was loved by many, and a very negative letdown for others. Expressive and emotional, it's a huge nod to 80s nostalgia, pleasing the band's old-school audience, but it is undoubtedly Ghost's weakest album to date. The 80s sound, although well-applied, ends up sounding "familiar," as if we've heard it before, making it predictable. The lyrics, however, bring emotional depth and greatly impact the audience's feelings, and in this sense, we highlight "Peacefield," "Lachryma," and "Satanized," which aren't the best on the album, but fulfill their role well. Musically, however, the album doesn't take many risks. It's an album that feels quite strange on a first listen. It evolves after several listens, but it's not the best recommendation to introduce someone to Ghost.
However, as the introduction to this review suggests, opinions and feelings evolve over time. Perhaps this album will age surprisingly well, carving out a larger space in the band's discography. Tobias Forge has certainly taken a step forward in this theme compared to the previous album, delivering arena-style songs that possess their own identity within the band's repertoire while also retaining humanity (Hello, "Umbra"!), reinforcing the band's already established identity while simultaneously pushing it forward.
Time will tell if the album will become a classic or remain something that tried to reinvent itself but ended up diluted in predictability. In the end, Skeletá reminds us that true art lives between the anxiety of expectation and the surprise of discovery, a place where only time can reveal the album's true value.
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