Ghost, Opus Eponymous: Self-Indulgence Goes ’80s Horror Metal, with Sexy Results
The hype for Swedish retro Satanists Ghost (not to be confused with the long-running Japanese avant rock troupe) has been overwhelming. I don’t think a day has gone by in the past month that I didn’t see someone recommending their Rise Above Records debut, Opus Eponymous – presumably because “self-titled” wouldn’t have been wordy enough – either in a review or random internet rambling. Usually that kind of thing is a major turnoff. I don’t want to hear the hyperbole about how melodically brilliant the sub-King Diamond singing is, or how an awesomely catchy track like “Elizabeth” gets stuck in your head after listening, or how the riffs sound like Blue Öyster Cult and the cover art is spooky and blue and whatever else. Just let me listen to the fucking thing and find out for myself if it’s any good. Back off, universe.
As ever, that has nothing to do with the band, which is comprised of six anonymous players who wear masks so people won’t know who they are and who may or may not be from other acts (being signed to Rise Above so quickly would seem to support that theory), but it does affect the listen. The truth of the matter, however, is that Ghost’s Opus Eponymous is a really solid album. In terms of aesthetic and execution, it’s clear the band knew what they wanted to sound like going into the project, and for their first record, they absolutely accomplish a deranged, early ‘80s atmosphere made all the more memorable by haunting choruses and capable songwriting. They’re hardly the first group to come out of Sweden with a “born too late” mentality, but between the overtly Satanic themes, the tight, crisp performances and the proto-black metal tonality, Ghost genuinely offer something unique to the listener bold enough to tackle Opus Eponymous.
The album revels in its pretense. From the title onward, everything the band does is grandiose, melodically conscious and awash in self-awareness. If you took away the devil worship, aside from losing half the fun of the album, you’d be left with a blend of ‘80s heavy rock and metal, guitars approaching a Megadeth, “Symphony of Destruction”-style cadence on “Ritual” but cutting quickly to one of Ghost’s many brain-glue choruses. “Ritual” is a pretty solid representation of the overall approach of Opus Eponymous, blending straightforward rhythms with eerie synth and guitar lines and the otherworldly vocals. By contrast, “Elizabeth,” which immediately follows, is more outright Mercyful Fate-ed, and “Satan Prayer,” with more prominent organ and busier drumming, sounds like Lucifer’s disco party. “Stand by Him” isn’t as dark as the earlier “Con Clavi Con Dio” – effectively the opener following intro “Deus Culpa” – but the two have plenty in common in terms of thematics and atmosphere.
If Opus Eponymous was a political candidate, loudmouth pundits would praise its ability to stay “on point.” In one way or another, each of the nine component tracks is a paean to Satan. That’s not a complaint; if anything it shows just how conceptual Ghost actually is as a project, and later cut “Death Knell” is a highlight anyway for its added sonic dimensionality, grooving a little slower and offering some guitar flourish that lets you know that, whoever the six-stringers in Ghost are and whatever they’ve chosen to do with it later, they’ve heard Slayer at one point or another in their lives. “Prime Mover” bristles with rhythmic energy, driven by Opus Eponymous’ best and most prominent bass showing, and a riff that, in another production context, would probably be considered “modern” (perish the thought), and closer “Genesis” starts with retro synthistry and manages to move from that to soothing acoustic guitar in four minutes and make it work. The album closes on a sweet note, which I’m pretty sure is the horn’ed one’s preferred manner.
We saw some of this kind of pop-minded heathenism from The Devil’s Blood, but where the difference between the two acts chiefly lies is in Ghost’s will to craft tightly structured songs. For all its spooky atmosphere and ritual ambience, Opus Eponymous is an expertly constructed outing, and the songcraft is central to that. I’m not sure which of the two acts I prefer, but I am sure it doesn’t matter either way, as each represents a new Satanic vanguard. I doubt highly Ghost will be the last crew of heaven-storming demons to rise from the depths, but for now, the novelty is part of the enjoyment of Opus Eponymous. If, like me, you put off listening to the record because the unbridled, unthinking hyperbolic praise it received made you think it was going to suck, you’ll probably just feel silly later.
Tags: Ghost, Rise Above, Sweden
Haha, I had the opposite happen. I got the album based on one off-hand recommendation by someone and then I started hearing about it literally everywhere. It’s quite catchy and entertaining, but I’m frankly surprised how much it blew up. We could use more bands that sound like 80s BOC.
Ya see, I just didn’t find Ghost that entertaining overall. I tried not to let the hype and whatnot sway me, to make my review independent of peers, but it just didn’t do it for me. It was ok, nothing great, nothing bad. A few catchy songs and guitar licks, but not enough to make me in a rush to hear it all again.
still, nothing comes close to Secret Treaties.