"Lucifer! We are here."
It's hard to know what to make of "Ghost," the slippery genre-blending doom metal band from Sweden. Can metal have such catchy tunes, such clean singing, such a pop production sensibility? Is it possible that a band with a lead singer that wears skull makeup coupled with a Catholic cardinal's robes (and who goes by the moniker "Papa Emeritus") fronting five "nameless ghouls" dressed all in black and sporting identity-obscuring black masks can be sincere?
"Ghost" plays things close to the chest. The makeup and hidden identities reminds one of KISS in their 1970's heyday. Like that band at that time, "Ghost" nurtures their anonymity, refusing press interaction out of character. Someone knows who these guys are, but why spoil the fun?
There's also a little prog-rock in "Ghost," a little "Buffy the Vampire Slayer," some "Scooby Doo," a little Weird Al (the lead singer's voice bears a positively Satanic resemblance from time to time - could it possibly be?), a little circus sideshow, and a lot of Black Sabbath. Lyrical gems such as, "Lucifer! We are here. For your grace...evil one," (from "Con Clavi Con Dio," off the "Opus Eponymous" album), or "Our father who art in Hell...unhallowed be thy name...cursed be the sons and daughters of thy nemesis...thy kingdom come...NEVER! (from "Ritual," also from "Opus Eponymous"), delivered like a gothier Duran Duran, border on the hokey. Toss in lots of "blasphemous" touches such as church organs and sinister choirs chiming in from time to time, and the illusion is complete.
So are "Ghost" mere marketing geniuses, a giant in-joke, or a legitimate musical force? Part of the appeal of the band is that it's impossible to know for sure. My guess is a little of all of the above. What can't be denied is the catchiness of the music. "Opus Eponymous," the band's first LP, sets up the scene with a minimum of fuss. A brief organ intro plants our brains soundly in the infernal pews of an unholy metal sanctuary. "Con Clavi Con Dio" abruptly ratchets the album into high gear and establishes a template - crunchy metal, doomy Satanic fan-boy lyrics, some faux religious chanting. The album maintains in this vein, retaining an impressive cohesiveness of tone throughout, until a wilting cover of the Beatles "Here Comes the Sun" closes the album with a wink.
The recently released sophomore follow-up, "Infestissumam," changes little of the basic structure, while managing to expand the band's overall sound. The songs are longer, the arrangements more complex. The mini-suite "Ghuleh / Zombie Queen" is a highlight, starting off as a synthy piano sunrise after a hard night of partying at an abandoned seaside amusement park (with hints of Bowie and Coldplay tossed in) before an abrupt about-face turns the song into a sort of goth Gogol Bordello before finally erupting into a priceless, and insanely catchy chorus of "Zombie Queeeeen...Zombie QUEEEEEEN!!!!"
Few things on "Infestissumam" are as immediately catchy as the contents of "Opus Eponymous," but it rewards closer inspection, and complements the first album perfectly, creating what could easily be considered two parts of the same album. Songs such as "The Depth of Satan's Eyes," and album-closer "Monstrance Clock" show "Ghost" solidifying their hold on an utterly unique niche in modern music.
Hummable, spooky, campy, corny, possibly ironic but potentially sincere - "Ghost" doesn't allow for easy categorization. When most music seems to fit snugly within predetermined slots, this can be frustrating, but is ultimately refreshing. I can't remember the last time a band's very existence made me think this much. I keep coming back to the music to look for clues, but few are forthcoming. In the end, the music speaks for itself. There's a lot going on in there, with nods to all sorts of music of the last forty or so years, but with a modern gloss that is all its own.
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