Scott's Song by Song #32-- Ghost: Skeleta'
Originally posted to Facebook on May 5, 2025
Link to post:
https://www.facebook.com/share/p/192VL1bZtG/
Welcome to issue #32 of Scott’s Song By Song (#scottssongbysong).For more information about this series, click here: https://www.facebook.com/share/Gc2VkwHQWGLdeaDd/?mibextid=oFDknk
Today’s artist was just recently featured in Scott’s Spotlight #27: Ghost (https://www.facebook.com/share/18a9iDqJvW/ ) . In the spotlight article, I mentioned that their new album was about to be released, and now it has been. I had not originally planned to put up a review of it as I had just featured them so recently, but I have changed my mind, as I have heard and liked half of the album’s 10 tracks. The album is titled “Skeleta’” and it seems to be getting even more attention than their previous albums (or maybe I am just noticing it more, now that I have gotten into them). Their leader/frontman/main composer/only consistent member is Tobias Forge. He performs in character, currently known as Papa V Perpetua (he has evolved through previous incarnations). The rest of the musicians are known as “Nameless Ghouls”. They are generally classified as “Metal”, but more in a polished 80s sense, than the super heavy modern sense. See that spotlight feature for much more about Ghost. They are not prog, although there are occasional bits that may show a slight prog influence. Let’s say they are a bit more like 80s Alice Cooper. Let’s jump in.
Track 1 - Peacefield
The album opener is the 3rd of the 3 singles released from the album. It begins with a peaceful single soprano female voice and soon joined by an a capella choir. The lyrics are:
Pieces of what could have been
Pieces of a shattered dream
Child, take your dark memories
Like seeds, and plant them far from here
Sow them, feed them, through shine and rain
Your love will be born again
The guitar riff then begins, and sounds like it could have been played by George Lynch on a Dokken song in 1985, then the vocals begin. At around 1:33, the rest of the band begins with big power chord accents. By 2 minutes the chorus begins, which has reminded many people , including my lovely wife Allison Rich ,of Journey’s “Separate Ways” . I also can hear Tool’s “Schism”. The production and arrangement are impeccable. There is a key change for the guitar solo. As the solo progresses they go into a half-time feel. The song has a great hook and a positive message. Forge says he wanted to kick off the album this way as follows:
"Because the record is going to slalom, zig-zag into darker subjects, I wanted to set a tone of hope in the beginning, even though its addressing very contemporary, contemptuous issues, I wanted to add a hand to the listener, that it'll be all fine, but we're gonna go sideways now, and go on a little trip."
In any case, this is a fantastic opening track!
Track 2 - Lachryma
This was the second single released prior to the album. This one fades in with a spooky keyboard part with howling sounds and a rhythmic bass undertone. The heavy riff kicks in after about 30 seconds. BTW, the general consensus is that “Lachryma” is Latin for “Tears”. This verse riff is a little heavier than the opening cut, a bit more like Dio. The pre-chorus smooths it out with some keys. The chorus changes keys, and has a slightly Bon-Jovi-at-their-heaviest kind of feel. A big hook! I keep getting it stuck in my head. The verse riff has a syncopation that almost makes it sound like it’s 7-8, although it is 4-4. I love how the verses and choruses are in different (albeit closely related) keys. The guitar duet feature follows and it is somewhere between the guitar breaks from Bon Jovi on “You Give Love a Bad Name” and Judas Priest’s “Heading out to the Highway”. It is very well arranged and executed. Then there is an individual guitar solo that ends with a dive-bomb and return. The next pre-chorus has the twin guitars playing excellent fills. After one chorus, they modulate up a step before the song ends. GREAT track!!
Track 3 - “Satanized”
This was the first single from the album. It begins with a melodic guitar line over a 6-8 groove. The chorus has some catchy hooks both in the vocals and instruments. There is a sinister voice under the instruments that I can’t quite make out during the transition back to the verse. There is a flashy guitar solo, with wah-wah in the rhythm guitar part underneath the first portion of the solo. After the solo, we go to the pre-chorus, but much quieter, with stripped down instrumentation. Forge’s voice is always clear as a bell, and engaging, with outstanding diction. On the closing lines of the chorus there are some syncopated variations on the rhythms between each phrase as the harmonized voices that have been saying “Blasphemy, Heresy” have been taken out. A wonderful track once again.
Track 4 - Guiding Lights
I believe I have heard this at least once. This begins with a soft keyboard melody. As the vocals enter the rhythm is tricky; it seems to be alternating between 4-4 and 6-4. As it reaches the pre chorus, it evens out. We are in power ballad territory here. It has a similar chord progression to Skid Row’s “18 and Life”. There is a key change before the guitar solo and another one during it. I like how this solo continues over the first phrase when the vocals return. The song ends on an a cappella harmony phrase of “that the road that leads to nowhere is long.” A great song at just under 3 and a half minutes. I wouldn’t have been mad if they had extended it longer.
Track 5 - De Profundis Borealis
The title, according to Google Translate, says: “The Borealis Depths” in Latin. This is my first listen to this and the next few tracks. It begins with some stark minor key piano chords, then a piano melody begins playing over it. The second phrase of the melody becomes dissonant before the heavy guitars crash in with big power chords. There are changing meters in the guitar riffs as well. Then there is a quick tempo repeated note with a syncopated rhythm that establishes a new beat. A spooky whispered voice joins as does a snare drum keeping time. Harmonized guitar parts lead to the first verse. The underlying rhythm changes as we move into the chorus. The rhythm is so syncopated in the guitar parts that it sometimes gives the impression of odd-meters, even though the snare keeps the 4-4 down beats. The lead guitar harmonies are almost under the rhythm section as we near the song’s end. It ends with an a cappella Gregorian chant-type vocal. Interesting track that I might need a few more listens to fully wrap my head around. Good job at bringing in the complexity to a 4 and a half minute track.
Track 6 - Cenotaph
This is an English word I was unfamiliar with, it means:
noun
a monument to someone buried elsewhere, especially one commemorating people who died in a war.
A high-hat pattern leads in a keyboard part, then a guitar rhythm. There is a great melody in the vocals. The drums come in at around 1 minute. This song has a great sense of movement, as if we are traveling. I feel a bit of 80s Queen here. It doesn’t sound like “Keep Passing the Open Windows” from Queen’s “The Works” album, but it gives me similar vibes. Nice guitar fill at 2:15. More Queen vibes in the rhythm guitar part before the solo begins. The opening lick of the solo is very cool. Then at about 2:55 stacked guitar harmonies keep the Queen vibes going, as Brian May would definitely have done that. Excellent guitar at around 3:10. Then Papa V Perpetua comes in with a solo a cappella vocal. The band soon kicks back in. The production is so smooth on this! Fantastic track!
Track 7 - Missilia Amori
The title is once again in Latin and it means “missiles of love”. It begins with a “reverse echo” effect which continues on the snare. Tobias really nails the 80’s metal vibe on this intro! Riffs with big accents! This one has a pinch of Kiss’ “War Machine” in the feel. Check out these profound lyrics in the chorus:
Love rockets
Shot right in between your eyes
Love rockets
Excite me with your demise
Well, they can’t ALL be Pulitzer-Prize worthy; I mean, as Mick and Keith once told us “It’s only rock’n’roll but I like it!” (and I do!) This is not an amicable break up portrayed in the song. Great solo! Not sure who the nameless ghoul lead guitarists are, but they are awesome. This would have been all over rock radio and “Headbanger’s Ball” in the 80s. It’s cheesy, but I am sure it’s meant to be. And some cheese is yummy. Fun track, don’t take it too seriously.
Track 8 - Marks of the Evil One
A short snare fill leads the band with a melodic lead guitar on the top. I like the rhythms under the vocals. This tells the tale of the “Disciples of the Evil One” and the marks that they carry. Excellent combination of keyboards and guitar on the instrumental break. Great harmonies on the vocals throughout. Not the best track on the album, but not bad.
Track 9 - Umbra
This is the other one I have heard previously. The title simply means “shadow”. This begins with a foreboding synth part. There is a crescendo as we approach the guitar riff. And along with the riff, what do we get but… (more) Cowbell! The drum groove is really good here. Papa begins singing in a low register. When we hit the chorus it's reminding me of Panic! At the Disco’s “L.A. Devotee” in the phrasing. This has been a good song up until now, but it becomes great when it hits the instrumental break, where there is a Blackmore and Lord (Deep Purple) type of guitar and organ duel. After a fantastic guitar ascending run, the rhythm guitar plays a repeated 16th note, then there is some whammy bar action on the lead guitar. The distorted organ answers. They really go at it back and forth. When the band kicks in first the guitar plays another impressive run then the organ shines. Then the two of them come together going up and down arpeggio patterns in rapid fire unison– impressive! The chorus comes back in to bring the song to its close. GREAT track!
10 - Excelsis
We are back in Latin for the title which means “highness”. Tobias leads an arpeggiated clean guitar part in with his vocals. Bass and keys join. This is about our inevitable mortality. Things begin to change at 1:30. Then the 6-8 guitar pattern continues with drums this time. So far this song is peaceful. Nice harmonies as the chorus repeats around 2:45. Power chords hit at around 3:15 for the bridge. The guitar solo begins around 3:55 and is very melodic. By 4:10 there are harmony parts on a great lick. I like the Major 7th chord on the words “you will too”. The song ends much like it started. Yes, it’s about death, but not in a scary way. I mean, we’re all going to go some day. It’s definitely not a suicide song. More about a peaceful passing to the other side. It does say to make peace with your friends and things like that. File this under “Hauntingly beautiful, if slightly unnerving”.
OVERALL IMPRESSIONS:
What a strong offering from Papa V Perpetua and the Nameless Ghouls. I only felt like tracks 7 and 8 were a bit weaker than the rest. Still, I would recommend this to anyone who likes 80s polished metal stylings with some great playing. Ghost has made a believer out of me. I’ll give it a 4.5 out of 5.
LINKS FOR LISTENING:
YouTube Link:
Apple Music Link:
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