Whether Ghost are ‘real metal’ or not is a debate that will last until the end of ages— what cannot be disputed, however, is the gigantic splash that Tobias Forge and company have made in the last few years. Even outside of the modern cultural touchstone that is ‘Mary On A Cross,’ the group’s music has continually made waves in the alternative scene, slowly morphing from the spooky classic metal of ‘Opus Eponymous’ to the theatrical classic rock of ‘IMPERA.’ The inevitable conclusion was new record ‘Skeletá,’ which sees Forge embracing his 80s influences and pop-centric writing like never before. It’s such a shame to see the result be so underwhelming though, stripping Ghost completely of the mystique and majesty they once thrived in.

If you thought ‘IMPERA’ was as cheesy as Ghost were every going to get, ‘Missilia Amori’s' central refrain of “love rockets, shot right in between your eyes” is sure to have you reevaluating: ‘Skeletá’ relishes in as many hammy lyrical choices and overblown arrangements as Forge can possibly stuff into 47 minutes, wearing the influence of 80s classic rock proudly. The skulking riffs and dissonant melodies of ‘Meliora’ are a decade past at this point— the group’s new album is brighter and more straightforward than any previous, putting layered choruses and pleasing arrangements at the front and centre. Moments like the sing-along hooks of lead single ‘Satanized’ or ‘Marks Of The Evil One’ were surely crafted to soar as part of Ghost’s live show, lending ‘Skeletá’ its own warm and comfortable atmosphere.

The record is undoubtedly at its best in its largest and catchiest stretches— Ghost have always known how to craft an infectious hook, and that trait is particularly essential to ‘Skeletá.’ ‘Lachryma’ is just as fantastic as part of the record as it was as a single, winding through eery verses before it unleashes a real showstopper of a chorus: much the same could be same of ‘Umbra,’ which slowly builds from its somewhat ominous verse into one of the brightest and most instantly enjoyable hooks on the album. Forge’s vocals are at their best in their highest and most layered moments— though ‘Peacefield’ may cut a little too close to Journey’s ‘Separate Ways (Worlds Apart)’ for comfort, its “your love, bright as the starlight” hook is, nonetheless, an approachable and confident start to the album. Ghost obviously want fans singing along to these cuts, and ‘Skeletá’ is at its strongest when the band have us doing just that.

When Forge fails to craft a catchy melody or fun hook though— as he routinely does throughout ‘Skeletá’— a number of these tracks are left out to dry. Ghost have never benefitted from the most inventive or impactful production out there, but their new record continually lounges in some of the blandest and most forgettable sound choices in their discography: where a record like ‘Prequelle’ indulged in saxophone solos and harpsichord inclusions, ‘Skeletá’ strips things back to basics (though for what purpose, we’re not quite sure). Ballad ‘Guiding Lights’ demonstrates how the plain presentation Forge is working with here often undercuts this crop of tracks: though the song wants feel grand and gripping a-la ‘Darkness At The Heart Of My Love,’ the tepid drum hits and run-of-the-mill guitars continually drag things down.

A number of songs across the album have us wishing we could turn the speed up a little, or else inject some more energy and life into the record’s more forgettable moments. ‘De Profundis Borealis’ is clearly aiming for classic 80s revivalism in the same vein as The Night Flight Orchestra, but the song just doesn’t have enough of a spark to go the distance— ‘Missilia Amori’ is an even worse offender, selling its ridiculous lyrical themes short throughout one of the most lethargic cuts here. In its weakest stretches, ‘Skeletá’ is a shockingly forgettable listen: these songs live and die by their catchy hooks, and it’s a far more mixed bag than we’re used to from Ghost. ‘Cenotaph’ makes a strong case to be the most disposable song in the band’s catalogue, meandering through generic rock tropes like it’s being held at gunpoint. Even melancholic closer ‘Excelsis’ is brought down by its own plodding tempo, though we must admit that Forge’s delivery does a hell of a lot to sell the song’s themes of death and acceptance in an intimate, heartfelt manner.

“Everybody leaves one day

I know it hurts

Everybody goes away

You will, too, I will, too”

Tobias Forge can write a catchy tune, and ‘Skeletá’ certainly brings with it some ear candy— ‘Lachryma’ ‘Marks Of The Evil One’ and ‘Umbra’ are all excellent tunes that Ghost fans should be tripping over themselves to check out. Taken as a whole though, the group’s sixth LP feels too cold and calculated to win us over. ‘Skeletá’ sees the band divorcing themselves completely from their dark, ominous roots, and that’s no issue in and of itself: not enough legwork has been put in to make up for it though, leaving this new record as Ghost’s most tepid and ho-hum to date. We’d love to see the band take another stab at this style in future— perhaps next time, they’ll be able to bring a little more energy with them.