Ghost's 'Prequelle' - Album Review

I have to admit that, until very recently, I was not a fan of the Swedish occult rockers Ghost. Despite their rise to super stardom since releasing their debut album Opus Eponymous back in 2010, the band's somewhat strange sound and strong image passed me by. I can remember back to when Opus Eponymous was released, as there was a lot of excitement in the metal community. Ghost were almost an instant hit, and by the time 2013's Infestissumam was released the band were well and truly part of the furniture. I remember listening to songs from both albums around this time and just not understanding what all the fuss was about. While the mix of Black Sabbath-esque riffing, The Doors' keyboard-drenched psychedelia, and Blue Öyster Cult's quirkiness was an interesting one, I just did not find the songwriting to be that interesting. In truth I am still not really much of a fan of the band's earlier work, and it took me a further five years to become something of a Ghost fan, but earlier this year I finally started to 'get' what Tobias Forge - the band's mastermind and sole constant member - is trying to achieve with the band. They put out the single Rats earlier this year and I decided to give it a try, and instantly found myself to be enjoying it. Ghost's sound previously had been very rooted in the late 1960s/early 1970s fuzz rock era, almost harking back to the birth of the rock and metal that we know today, but Rats showcased more of an 1980s metal sound. I heard elements of Ozzy Osbourne's solo work, Dio's more commercial output, and even shades of bands like Ratt in the song, and it grabbed me unlike anything I had heard from the band previously. Then, on the recommendation of a friend, I purchased 2015's Meliora, the band's third album, which I enjoyed almost instantly. There was a catchiness about the material which reminded me of Rats, but it still maintained the fuzzy, organ-drenched sound of their earlier work. Opus Eponymous and Infestissumam still do not do a huge amount for me, but on the strength of Meliora and Rats I pre-ordered the band's fourth album Prequelle. Sound wise, Prequelle is quite different to anything the band have done previously. There is a stronger pop element in the sound, and the heavier moments are much more metallic than previously. It it clear Ghost have moved from the 1970s to the 1980s, and this is maybe why this album appeals to me so much. I am a big consumer of 1980s rock and metal, and much of this album feels like a real homage to that era. There are elements that recall their earlier work, but on the whole this is a pulsing, upbeat album packed with great riffs and anthemic choruses; and it is all held together by Forge's thin but somewhat hypnotic vocals. Despite the fact Forge has now officially been 'outed' as the Ghost mastermind, he still performs under a moniker - which is now that of Cardinal Copia. The controversy that has plagued him over the past year regarding the lawsuits filled by some of his former band mates does not seem to have quelled his creativity and, in fact, may have spurred him on to create some of his best work yet.

The album opens with Ashes, a short intro piece which backs a children's choir with dark, atmospheric synths. Despite the poppy melodies found throughout the album, there is a certain eeriness that pervades everything and Ashes helps to set the tone for what is to come. A big drum fill sees the album transition into Rats, the aforementioned lead single, which opens with a simple guitar riff that recalls the great metal acts of the 1980s. Forge's voice is certainly an acquired taste, but his strange delivery really works during the verses here as he creeps atop the guitar grooves. Big keyboard chords really help to enhance the atmosphere throughout, and by the time the chorus hits the song has already grabbed hold. The melodic wordless vocal chants during the choruses give the song a feeling of hits such as Shot in the Dark or Hungry for Heaven, while the slightly folky lilt to the guitar solo brings to mind Thin Lizzy. While certainly a pastiche of 1980s hard rock, the song grabs hold almost instantly and is a great introduction to the world of Ghost. Faith also opens with a memorable guitar pattern, but this time in the form of a flashy neo-classical run that Yngwie Malmsteen would be proud of. This virtuosity is short-lived however, as soon the song transitions into a tougher hard rock track, with a muscular riff and bassline driving everything forward. Sadly the song lacks the hooky chorus that it needs to take it to the next level, but the creepy atmosphere that it creates overall is extremely captivating. Despite the lack of a great chorus, there is plenty of strong guitarwork to enjoy - with a fluid solo impressing. Sadly, due to Ghost's mystique, the individual responsible for the guitar solos is not credited so they cannot be name-checked here for their sterling work. See the Light is more of a keyboard-led piece and it opens with a powerful church organ motif before leading into a gentler, piano-based verse. Forge croons his way through the verses in his trademark strange way, but it is during the choruses that the song really opens out. Guitars join the mix to up the heaviness somewhat, and the smoothness of the vocals really contrasts with the soaring gothic metal of the music. This certainly sounds more like the band's earlier work, but with more polish and stronger melodies - which will please those who have followed the band since the beginning. It is probably one of the most dynamic songs on the album too, mixing the light and shade of the band's work perfectly. Miasma is the first of two lengthy instrumental pieces. I would question the need for two five minute-plus instrumentals on a 40 minute album, but Miasma in particular is enjoyable. The early portions of the piece are keyboard-led, with some excellent retro synth leads mixed in with a grinding rock riff in the background. After a fairly laid back start, the song starts to speed up and get more intense with more guitar theatrics including some excellent shredded solos and a riff that definitely borrows heavily from Michael Jackson's Beat It. There is even an extended saxophone solo to keep things interesting, something which I would like to see the band use more going forward.

Dance Macabre gets the second half of the album off to a great start, and it is possibly my favourite Ghost song yet. There is a massive dose of AOR here, with a strident guitar riff getting things started before a bouncy verse makes great use of Forge's voice. The overall 'lightness' of the piece makes his thin voice sound more powerful than usual, and some excellent 1980s-style vocal harmonies create a big sound. Where this song really hits home however is the chorus. Jim Peterik would have killed for a chorus like this back in the 1980s, and it is a real travesty that the song is not topping the charts all over the world. I imagine those who like their metal to be heavy and free of cheese will struggle with this song, but for those of us who's CD shelves include efforts by Journey, REO Speedwagon, and Toto are sure to lap this up. Pro Memoria pairs things back somewhat again, and lets the piano take hold early for a twinkling verse melody. While the piano chords have a slight Elton John-esque flourish, the lyrics and slightly creepy way Forge delivers them ensures the song does not feel like a throwaway ballad. The repetitive chorus is not the band's best, but it still works well within the context of the song. It has a certain hypnotic quality that is hard to escape, something which is found in all of the band's best songs. Witch Image is another favourite of mine. It starts with a big drum sound, before exploding into a powerful guitar riff that once again recalls many of the great 1980s metal acts. The verses are quite murky, with atmospheric guitar melodies and a dense wall of keyboards. The thing that I love about this song however is the chorus. The melodies are just so infectious, and they clash perfectly with the horror-themed lyrics. Ghost manages to forge (pun intended) the horror with the pop effortlessly throughout this album, but this is probably one of the best examples. Helvetesfönster is the second instrumental, and this one is much less interesting than the first. It relies on dense atmospheres rather than big melodies, and reminds me of my initial listens to Ghost all those years ago when I dismissed them. The song does however feature Mikael Åkerfeldt (Opeth; Bloodbath; Storm Corrosion) on acoustic guitar. He is one of the few individual instrumentalists to be credited on the album, and his influence can certainly be felt on the track as some sections of the song do sound like some of Opeth's more pastoral moments. While probably my least favourite song on the album, it is not truly horrible and there is a great keyboard-led section part way through that sees some great retro synths cut through the mix to great effect. Life Eternal is the album's closing number, and injects some theatrics into the album with some excellent piano melodies and some of Forge's best vocals to date. The song is quite a mellow one, with the piano dominating throughout, but the way that Forge sings and some of the guitar lines that cut through remind me a little of Queen. By the time the last chorus is reached, Forge is backed by a choir and a dense orchestral backing. It sounds epic, and really helps the album to end on a real high - especially after the strange instrumental piece that preceded it. Overall, Prequelle is a really strong album from the Swedish band and one that will probably introduce them to new fans. There is a bit of filler to be found, especially the second of the two instrumentals, but there is also an awful lot to enjoy and I have to credit this album for making me finally take notice of Ghost.

The album was released on 1st June 2018 via Loma Vista Recordings. Below is the band's promotional video for Rats.