Ghost’s Skeleta album, track by track: A hauntingly good ride through every song

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Over the past ten years, Ghost has faced criticism and jibes by being labeled as “soft metal”. However, they are not soft at all. Despite this label, the band’s creators, led by Tobias Forge, have never positioned themselves as a metal group. Instead, Ghost can be categorized as hard rock, much like KISS wasn’t considered metal for most of the 1970s.

Labels may not be necessary; what truly counts is the quality of the music itself. As Huey Lewis once said, there are essentially two categories of music – good or bad. Remarkably, most of Ghost’s discography, including their B-sides, has consistently been excellent.

It appears that Forge (and their bandmates, including the latest addition, Papa V) may have reached a pinnacle of success with their latest album, “Impera“. However, Ghost has never been one to rest on its laurels. Instead, they seem to improve, become more refined, and develop a unique sound with each new album. Is the trend bucked by their most recent release, “Skeletá“?

Reviewing Ghost’s Skeletá track-by-track

“Peacefield”

Kicking off the entire album, “Peacefield” immerses you in Tobias Forge’s vivid portrayal of late-1970s AOR romance. It’s reminiscent of Journey’s hit “Separate Ways”, but unlike that song, “Peacefield” starts with a powerful choir. This isn’t meant as criticism – both songs are excellent in their own right.

“Lachryma”

The beginning of this song seems to hint at a return to the style of songs before “Impera,” but it doesn’t deliver. Instead, this tune veers closer to metal than Ghost typically does, and the video is outstanding. It’s an entertaining track that’s enjoyable to belt out.

“Satanized”

As a devoted fan, I often ponder whether this track by Ghost is an ode to love or devotion to a higher power. Regardless of what Forge might feel about it, fans like me find ourselves drawn to the altar of Ghost’s music. It’s a kind of song that few other bands can execute with such mastery.

“Guiding Lights”

In a shift reminiscent of ’80s metal, the tune adopts a harder, more metallic sound. From the get-go, the synthesizers suggest this change. Although it’s not an exact replica of “He Is,” the emotions echo, and a church-like ambiance permeates. True to form for ’80s metal (one could almost imagine Damn Yankees claiming ownership), the song’s volume swells significantly around two-thirds into the track.

“De Profundis Borealis”

A different take on an intro for track five, perhaps influenced by the melancholy of “Guiding Lights,” yet swiftly transforming into a high-energy hard rock number. In this song, Forge employs a distinct vocal style that sets it apart from most songs in the Ghost discography. His delivery is less dramatic and more punctuated. However, the powerful chorus, designed for audience participation, brings out a different side of him. This should make for an exciting live performance.

“Cenotaph”

The most lively and slightly rebellious tune on the record stands out with its deliberately gritty and exaggerated guitar sounds. The album as a whole is unabashed, showcasing Forge’s passion for AOR rock. If the music is top-notch, which it certainly is in this case, there’s no issue with going all out. This track is pure enjoyment, and your 12-year-old self playing alone in your room back in 1985 would undoubtedly love it.

“Missilia Amori”

If you’re a fan of hair metal, this one resonates deeply with your passion for it. However, Forge adds a touch of humor too. In his own words, “Love rockets/Shot straight at your gaze.” It’s hard not to imagine him chuckling as he penned that line.

“Marks of the Evil One”

This tune isn’t conventional; it’s a blend of New Wave and metal, reminiscent of Billy Idol’s style on “Rebel Yell,” but with an added springiness that you can’t shake off easily. Once heard, the rhythmic flow will linger in your mind for quite some time, resisting all efforts to dislodge it.

“Umbra”

Forge’s most explicit song on the subject of sex is arguably this one. Although he never resorts to vulgar language, the meaning of lines like ‘In the shadow of the Nazarene / I place my love within you’ are unmistakably sensual. The music may seem contradictory to these themes, but it does so effectively. For a greater dose of progressive rock, wait until approximately four minutes into the track and you’ll find what you’re looking for.

“Excelsis”

Ah, following a series of joyful tunes, the album concludes with a composition about mortality by Ghost. The melody gradually unfolds, showcasing clear vocals, and its beauty is captivating. In fact, one might mistake Ben Folds as a collaborator on this particular track.

Eventually, everyone has to part ways; I understand it can be painful, but that’s just the way things are.

At a live show, keep your phones handy to light up the flashlights and gently sway your hands overhead when the band plays this special tune. Forge authentically strips away all fabricated feelings in his Papa roles. The track resonates with the raw emotion that only Ghost can evoke.

In essence, this album is fantastic overall, yet it doesn’t seem to be designed to attract new listeners. Instead, it caters more to dedicated, longtime fans.

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2025-04-25 16:00