Ghost has always straddled the line between cathedral and cabaret, and with their sixth studio album Skeletá, they don’t just tiptoe into 80s glam rock territory — they moonwalk into it wearing mirrored armor and fog machines. With synths, shimmering solos, and a vibe that could resurrect Ronnie James Dio and invite him to a costume party in hell, Skeletá is Ghost’s most flamboyant offering yet. But is it good?
Well, that depends on how much cheese you can handle with your sermon.
A New Ghost, A Familiar Mask
A New Ghost, A Familiar MaskTobias Forge returns once again under the guise of Papa Emeritus V, but this time, it feels like he’s channeling more Styx than Satan. While previous records flirted with the pop-metal spectrum (Impera especially), Skeletá doesn’t flirt — it takes it to prom.
This album isn’t trying to be heavier than Meliora or more spiritual than Prequelle. It’s theatrical, tongue-in-cheek, and drenched in melodrama. And that’s by design. Forge described Skeletá in interviews as an “homage to the bombast of the late 80s,” citing Journey, Iron Maiden, and Van Halen as spirit guides — and man, it shows.
Ghost Goes Glam: Sound & Style
Gone are the creepy baroque interludes and sludgy doom riffs of their earlier work. In their place: massive synth pads, chugga-chugga power chords, and hooky, arena-sized choruses. Skeletá doesn’t just wear its influences on its sleeve — it’s got them stitched into its ritual robes.
There’s a sense of camp and theater that hits hard in tracks like “Marks of the Evil One” (a fan-favorite banger with an anthemic, ascending chorus) and “Umbra” (easily one of Ghost’s most radio-ready moments to date). Even the ballads, like “Peacefield,” drip with 80s melodrama, complete with faux-orchestral swells and whispers of synth choirs.
Forge might be crooning about damnation, but he’s doing it like he’s fronting Survivor at a Satanic prom.
Track Highlights: From Hooks to Hiccups
Let’s not sugarcoat it — Skeletá is divisive. While some tracks soar, others sink into their own theatrical quicksand. Here’s the lightning-round:
- Best Track: Marks of the Evil One
Riffs for days, soaring chorus, and just enough sinister swagger. The most “Ghost” song on here and a fan favorite for a reason. - Runner-Up: Umbra
A power-ballad-turned-arena-anthem that showcases Ghost’s pop side without losing its darker flavor. Also cited by fans as a live-show killer. - Dark Horse: Satanized
A groove-heavy mid-tempo jam with a creeping menace and unforgettable hook — this is Impera’s evil twin. - Biggest Letdown: Peacefield
Despite its lush arrangement, this track lands like a forgotten Phil Collins B-side. More soft-focus than Satanic. - Most Skippable: Cenotaph
Tries to go emotional but ends up as ghostly elevator music. Even the diehards are scratching their heads.
Lyrics: Easy to Sing, Hard to Take Seriously
One consistent note from fans: the lyrics here are fun, catchy, and sometimes cringe — and that might be the point. Tracks like “Lachryma” and “Excelsis” feel like they came from a rock opera written by a demon-possessed Meat Loaf. Whether that’s a compliment or a curse depends on your tolerance for camp.
But credit where it’s due: Forge knows how to craft memorable lines, even if they veer into Scooby-Doo villain territory. And honestly? That’s part of the charm.
Context Matters: Where Does Skeletá Fit in Ghost’s Catalog?
It’s not the darkest. It’s not the heaviest. But Skeletá may be Ghost’s most cohesive album when it comes to aesthetic and sonic unity. From the cover art to the synth patches, everything here screams “retro gothic glam.”
Compared to past albums:
- Heavier than Prequelle in its guitar tone, but lighter in concept.
- Less emotionally deep than Meliora, but more fun and accessible.
- Follows the path of Impera and cranks the knob to 11 on the glam dial.
Conclusion: Fun, Flamboyant, and Full of Fire
Ghost has never cared much for staying in a genre box — and Skeletá is the proof. This is an album that embraces camp, channels the occult through a glam lens, and doesn’t shy away from being over-the-top. It’s got riffs. It’s got synths. It’s got moments that make you throw the horns… and others that make you wince a little.
But that’s the Ghost way: theatrical, ironic, a bit ridiculous — and totally self-aware.
Final Verdict:
A campy, catchy, glam-rock exorcism. Not perfect, but it doesn’t need to be. It just wants to entertain — and that it does.
