If you haven’t heard of Ghost until now, Prequelle is a good album to get started with. It’s not their best album to date – that honor goes to their 2015 offering, Meliora – but it is both excellent and highly accessible.
I’m not going to get into the theatrical aspects of Ghost, because they are irrelevant. Ghost is a band, that band put out an album, and this is a review of that album. You can look up any number of articles about Ghost’s stage show, legal problems and the alter egos of their leader and singer, Tobias Forge.
The minute-plus album intro “Ashes” is, unfortunately, pointless. I’m not a fan of intros in general and have already deleted “Ashes” from my computer (through which I listen to most of my music). The only saving grace of “Ashes” is that it delivers the motif that returns at the end of “Rats” in a crushing riff.
“Rats,” then, is when the album kicks off – and does so with greatness, pomp, circumstance, joy and harmony. I may sound effusive here, but seriously – from the crisp drum intro to the crushing outro riff (bringing back the motif from “Ashes”), “Rats” is quite possibly the best mainstream metal song to come out so far in 2018.
Note I say MAINSTREAM metal – by this I mean accessible, widely popular, likely to be played on the radio, etc.
“Rats” has it all – a fantastic hook, a great chorus, beautiful vocal harmonies, a great guitar solo, a tight end, everything you’ve come to expect from Ghost’s best songs.
Following “Rats” is “Faith,” possibly Ghost’s heaviest song to date. It’s wonderful to hear them laying down a heavy groove with the typical soaring vocals over top. I read somewhere that “Faith” is a slap at the former Nameless Ghouls who were part of the band in past years and are now suing Forge for back wages, but in all honesty, I rarely pay attention to the meaning behind the lyrics of any band. I care about melody, not meaning.
Prequelle slows down after “Faith,” with an early power ballad, “See the Light.” It’s a good song, with nice piano playing and some little industrial flourishes before the guitars kick in, but ultimately it’s still a third-song ballad when I don’t really like to see a ballad on a metal album until track four. Yes, that’s a picky nit to jab at, but who’s writing the review, you or me?
“Miasma,” the next song, builds slowly and ominously into a slick tune fueled by riffs that would be at home on any of Ghost’s previous albums. The fact that it’s an instrumental gives me a little pause, wondering if Forge is trying to make a point that he’s more than just a singer, more than just what the television industry would deem a “shot caller.” Forge may be trying to remind people that he’s a musician first and foremost, and that whatever mask and hat he’s wearing is mere adornment for the show. What propels “Miasma” over the top, quality-wise, are the extended guitar, keyboard and saxophone solos that build in intensity to the end of the song. The sax solo in particular is brilliant – fantastically played, excellently recorded and precisely what the song needed. Having been in the position in my own career as a recording musician where I suddenly realized the reason a song wasn’t coming together was because it needed a saxophone solo, I commend Forge for indulging that particular need.
“Dance Macabre” comes next, and this is the song that’s going to separate Ghost’s previous fans from their future fans. “Dance Macabre” is not a metal song. It is a pure-D, full breed POP song, complete with thumping drums, romantic longing and a disco undertone that is absolutely undeniable. It evokes “I Was Made for Lovin’ You” and “Calling Dr. Love” by KISS, which is obviously one of Ghost’s biggest influences as far as their image and stage show go. I can absolutely see “Dance Macabre” becoming a Top 10 radio hit. It’s got a fantastic guitar solo, by the way, even if it is too short.
Back in the old days of LPs and cassettes, “Pro Memoria” would be the first song on Side 2, and it definitely has that kind of “reset” feel that flipping a record over had when you were a kid. It starts with gentle keyboard pads and strings, then turns into a beautiful, piano-driven power ballad reminding us that we are all mortal (“Don’t you forget about your friend Death,” etc.). Slick harmony guitars take over several times during the song, reminding the listener that Ghost is still a hard rock (at the least) band. It’s another ballad, but it’s a good one.
“Witch Image” gets things back to the harder side of the equation, with an almost grunge-like song structure (jarring intro, mellow verse, heavy chorus). It’s three and a half minutes of what Ghost does best – plus another harmonized guitar solo. I love Ghost’s guitar solos; in the fashion of bands like Queen and Extreme, they are often compositions within the composition and add to the overall musicality of the songs.
Did you know Forge is Swedish? In case you forgot, he includes another – much lesser – instrumental track called “Helvetesfönster.” Google Translate tells me this means “Hell Window.”
I think they’re right, too. The German word for window is fenster, and that’s pretty close to fönster. Further, the German word for Hell is Hölle, so if Forge was German, the song would be called “Höllefenster,” which is damn close to “Helvetesfönster.” I wonder if Ghost had it printed as “Höllefenster” on the German copies of the album.
Anyway, even though this is a campy instrumental, it brings back the melody motif from “Dance Macabre,” which is a nice touch. This song wouldn’t be out of place as the entreacte in the middle of a Broadway show. Excellent piano playing, though, no doubt about that. Still, it is the second instrumental on one album, when I’m not sure Ghost has done two instrumentals on the totality of its three previous full-length albums.
The last song on the standard version of Prequelle is “Life Eternal,” yet another ballad. YET ANOTHER BALLAD, I SAID!!! Three ballads on one album from a hard rock or metal band is a sure sign that they are angling for a more mainstream presence – and a million units in sales, no doubt. More power to them, I guess. At least it’s a good song – for a ballad. It’s very Ghost as well, with the typical guitar-driven tensions and vocal melodies (and harmonies) we’ve come to expect from the band. The best part of the song is the last minute, which features a gospel feel to it in a question-and-answer vocal part that is (in my opinion) too short.
Ghost then does another thing that drives me nuts on a CD – they insert 30 seconds of dead air before the bonus tracks start. I’m glad it’s only 30 seconds though, and not like what Tool has done on some of their CDs. Bands need to quit doing this. I dislike paying for dead air on an album.
At any rate – bonus tracks. I don’t know if I ordered the deluxe version or if this is just the typical CD that goes out to people who order the album from Amazon, but closing out my copy of the CD are two (bonus) cover tunes.
Before I tell you about these two covers, I have to say that Ghost may be doing cover tunes better than any other band out there today. I include Foo Fighters in that statement, and Foo Fighters do some excellent covers.
Ghost hasn’t put a cover on one of their full-length albums since their debut (Opus Eponymous), when they did an amazing, dark version of The Beatles’ “Here Comes the Sun.” They did an EP of five covers (If You Have Ghost, led by the Rory Erickson song of nearly the same name), and when they release their hit song “Square Hammer” as a single in 2016, they made it the lead track on an EP called Popestar, filling the rest of that disc with fantastic covers – including Eurhythmics’ “Missionary Man.” What I’m telling you is this: Ghost has a history of doing great covers of songs both obscure and common.
Chances are if you weren’t into Pet Shop Boys, a dance-pop band stupendously popular in the 1980s and – in case you didn’t know – still making music as recently as 2016, you never heard “It’s a Sin.” It’s a catchy song, no doubt about that, but when it gets the Ghost treatment, it’s elevated from catchy to downright addictive. It evokes everything keyboard and electric drum-heavy 1980s synthpop music was about and is a brilliantly executed cover song.
The CD closes with Ghost’s version of Leonard Cohen’s “Avalanche.” I admit I know nothing about Cohen’s music beyond that song “Hallelujah” that’s been in just about every movie and TV show since it came out and has been covered both well and poorly by just about everybody, all over the world and YouTube. You can’t throw a rock in 2018 without hitting somebody who has either covered that song themselves or has a favorite version of it somewhere they totally want you to listen to. “Hallelujah” is like the Crossfit of cover tunes, and not in a good way.
Ghost could have (should have?) left “Avalanche” off the CD. It’s not a bad version, but it’s a bad closer. Closing on the upbeat “It’s a Sin” would have been greatly preferable, if for no other reason than listening to Forge struggle with the low melody on “Avalanche” distracts from the song’s appeal.
All in all, this is a good Ghost album. It’s a good album, period, and better than a lot of other stuff that’s come out this year. It’s not Ghost’s best album from my perspective, partly because of the weak instrumental towards the end of the album and the proliferation of power ballads. There are way worse things to spend $12 on, though, and if you like any kind of hard rock or mainstream metal music, you’d be well advised to get this album as soon as you can.
I give Prequelle an A, four stars out of five, an 8 on the 1-to-10 scale, and a hearty “buy” recommendation.