Ghost - Infestissumam Review
rating: 4
Release Date: April 8, 2013 / April 16, 2013 (US/Canada) One of the years most anticipated releases, especially in the metal community, comes from the mysterious, nameless ghouls known as Ghost (or Ghost B.C., as theyve recently changed their name to for use in the United States for legal reasons). Their brilliant 2010 debut, Opus Eponymous, was a strange breath of fresh air with its retro sound (think Blue Oyster Cult meets Mercyful Fate with a bit of 13th Floor Elevators-esque pop-psychedelia) and the garish pomp of anonymous figures in hooded robes, with an evil Pope-like vocalist singing about Satan and sacrifice and Elizabeth Bathory in the most saccharine tones imaginable for such subject matter. In all honesty, its a surprise that it worked so well in this day and age. It certainly has, though, as Ghost has become one of the most talked-about bands in the last couple of years, which has garnered them an appearance at this years Coachella festival, among others. Infestissumam, the bands sophomore release (which is Latin for hostile), begins much like the previous album does, as the title track is mainly a series of chants that echoes the debut albums opening track, Deus Culpa. The only difference is that after about twenty seconds, it erupts with loud, anthemic guitars and thunderous drums that lead perfectly into the second track, Per Aspera Ad Inferni, which, much like the second track on the debut, is an up-tempo rocking number that sets the mood for the rest of the album. At this point the question arose, Is this just going to be a rehash of the debut? The answer? No, not really. While its true that the subject matter still focuses on Satanism and not much else (which will probably always be the case with Ghost), the songwriting on the remainder of the album is much more adventurous than its predecessor. This was hinted at with the release of the lead single, Secular Haze, back in December. That release was met with a lukewarm reception, given the circus music and lack of a decent hook, and caused many Ghost fans to fear the dreaded sophomore slump. However, that particular song works much better here in context with the entire album instead of as a single, which is the case with most of the tracks here. The evolution in songwriting persists throughout the remainder of the album. Two songs, Jigalo Har Megiddo and Idolatrine feature shuffle beats and add a touch of 80s glam metal to the bands repertoire. Even one of the songs that sound like it could be on Opus Eponymous, Depths of Satans Eyes, contains some elements of new wave in its midsection. The real highlight, however, is the seven-and-a-half minute Ghuleh / Zombie Queen, which begins as a lush piano-driven ballad, then suddenly transforms into a psychedelic surf rock anthem with a huge sing-along chorus. It is definitely the riskiest song on the album, and also one of the very best. The album ends in grand fashion with Monstrance Clock (unless you have the deluxe edition, which contains two bonus tracks, one of which is a cover of ABBAs Im a Marionette with Dave Grohl on drums as the final track), a doom-pop song that is heavy on the synth at times, and is very reminiscent of Alice Cooper in his shock rock days. It is one of the most effective closing songs I've heard in some time. Despite having a running time of forty-two minutes, Infestissumam is one of those albums that seem to be over before you know it. Once those final haunting moments of the album end, youre left wanting more and will feel tempted to immediately listen again. It is also an album that showcases a band with a clear vision of what they want to accomplish, both musically and theatrically, while at the height of their songwriting prowess. The nameless ghouls in Ghost have successfully avoided the sophomore slump, as Infestissumam is a very enjoyable listening experience, and is highly recommended.