Kingcrimsonprog
Swedish Rock/Metal band Ghost return in 2022 with their fifth full-length studio album, Impera, an empire themed three-quarters-of-an-hour journey through various musical twists and turns. There are three brief intros/interludes and nine “real songs” including epic stadium-destined power balladry, weird creative diversions, and some big bouncy anthems.
No two Ghost albums are alike, and this album doesn’t sound much like their previous album Prequelle, nor indeed any of the albums that came before that either. They have evolved markedly over the course of their career, and you could make a solid argument for any one of their albums being their best one.
If you are expecting a St. Vitus or Pentagram album, because someone once mentioned the word “doom” or “occult” to you in reference to Ghost several years ago, then this album might be a bit of a shock. This album is perhaps their brightest, shiniest, most “stadium” sounding record to date. The media has been quick to throw out Bon Jovi, Def Leppard and Van Halen comparisons, and in all honesty, those do seem fairly close to the mark. They don’t sound specifically like any one of those bands, but there are tinges of the feeling they evoke – just mixed with dozens of other influences. Ghost are such a melting pot and no two listeners will describe it exactly the same way. You’ll be picking up hints of all sorts of different reference points, from ‘60s and ‘70s Psychedelic and Prog music, to that ‘80s MTV sound, to classic Hard Rock, and maybe even bits of Ozzy and Dio, and all sorts of other things. In addition to all the rock and metal, Tobias has also always had a big ear for pop music, and the 70s/80s pop stylings are dialled notably up. The producer, Klas Åhlund, has worked in various capacities for people like Madonna, Kylie Minogue, Britney Spears, the Sugababes, Paloma Faith and numerous others. I’ve heard it described in all sorts of different ways, from Dr. Feelgood by way of “Mama Mia,” to Mercyful Fate covering “Panama,” to the alternate reality where Rabin-era Yes wrote The Black Album.
The mixture of pop, rock and metal has always been a cornerstone of the Ghost schtick, and the ratio and specifics change slightly each time, but it always sounds like Ghost. I would be hard pressed to say you would ever dislike this if you liked any of their previous work, even if it is sonically quite a far cry from Opus Anonymous.
It is hard to pick highlights, because there are only 9 real songs, all of them serve a specific purpose in the journey, three of them were singles anyway already (at time of writing) and none of them are skippable. Its quite a tight, succinct, well-paced, fat-free affair. Definitely the kind of album you listen to in one whole sitting from start to finish. That being said, I’ve always loved the obvious “hits” like “Square Hammer,” “Kiss The Go-Goat” and “Rats” from other releases, so “Hunter’s Moon” is very noteworthy for me. The opener, “Kaisareon” doesn’t fit that previous “hit single” mould, but its supercharged hook after hook after hook approach (its almost like it has 4-5 different album defining choruses in one single song) is a standout in a whole new way. From the reaction it is getting in the media, I can foresee “Darkness At The Heart Of My Love” being a massive concert favourite, and every time I listen to it, it feels important somehow, like some sort of milestone moment.
As usual, Ghost deliver a great new album that gives more of what we want, in quirky and unexpected ways, and sounds exactly and uniquely like themselves while both never repeating themselves and also sounding like a Jukebox of dozens of other disparate things you like or at least recognise from elsewhere. As usual, Ghost deliver a top notch set of songs that will stick with you for years to come, that you are desperate to hear in the live setting, that you couldn’t imagine a playlist without. As usual, within the first few listens, you’ll be convinced its an album of the year contender.