Swedish rockers Ghost have amassed a cult following since launching into the airwaves in the early 2000’s, with a liturgy of worldwide fans eagerly awaiting the release of their sixth studio album, SKELETÁ on April 25, 2025, through Loma Vista Recordings. Combining heavy metal and classic rock elements, SKELETÁ takes you on a beautiful, whimsical and mysterious journey into the darkest depths and the most heavenly highs. Produced by Gene Walker, mixed by industry legends Andy Wallace and Dan Malsch, Ghost continues to evolve their musical landscape, with purpose and authenticity. This new album feels like Ghost but with a modern edge. The title, SKELETÁ gives symbolic imagery references of skeletal bones, perhaps signifying life supporting structure within the human body. The concepts are emotional, with strong themes of mortality and immortality. We are introduced to Ghost mastermind and singer, Tobias Forge’s latest persona, Papa V Perpetua, to front the bands’ clergy for this era. This papal incarnation continues to carry the lore and symbolism that fans know and love of Ghost forward to the new chapter, as the costumes and stage theatrics continue to evolve and grow deeper, darker and more atmospheric, complimented by a more expansive sound.
As a whole, SKELETÁ is a phenomenal musical journey, difficult to pull apart song by song, and best listened to loud. The album can best be described as Forge’s lovechild, marinating for a long while before coming to life off the back of IMPERA. Forge delivers lyrics that are darkly satirical and catchy, blurring the lines between reverence, irreverence, horror and humour. Musically, it carries a lot of the late 70s, early 80s rock style ballads and guitar tones that fans love, with complex layering to create these dark atmospheric dream scapes. Each song is different to the one that came before, possibly intentional in the album crafting process by Forge. SKELETÁ is more than just a record. It is an intentionally introspective shift on the view of humanity and the inward emotions and feelings that evolve through living in this world and social commentary. This new inner view and dive into deeper feelings is something we haven’t seen much of from Ghost in the past, with previous albums being more of an outer perspective and observation.
Peacefield
The album kicks off with Peacefield, Ghost’s third single released in anticipation of SKELETÁ. As an introduction to the album, Peacefield thrusts listeners straight into a soundscape of deep textures. We are treated to beautiful choral harmonies that are almost holy, but it’s not all ethereal. An organ marches us into punchy guitar harmonies and beefy bouncy bass, keeping listeners grounded. This is a multilayered track that evolves as you listen, with the delayed drums kicking in right as the lyrics reach a peak of ‘this is what dreams are made of’ followed closely with a big drum fill. Peacefield has 80s atmospheric rock elements in addition to shimmering synths, including wicked guitar riffs and hooks that draw you in and keep you there, not unlike the previous Ghost albums that have come before. This is a song that will take you on a journey through hills and valleys. A massive guitar solo about 3 minutes and 40 seconds breaks through the song, slowing into ballad-esque, before picking up again. Lyrically, Peacefield has themes of achieving your dreams and being afraid of your dreams, of needing something to believe in, of staying close together and finding a way through. The line ‘we all need something to believe in’ resonates to the human need for hope and to find purpose in this world. As an introduction to SKELETÁ, Peacefield is the stunning calm before the unholy storm of what is yet to come. It sets the tone well for the transcending journey of SKELETÁ while providing a sense of reassurance and safety.
Lachryma
Lachryma is another single released on SKELETÁ, along with a hauntingly beautiful video. This is a no holds barred, heavier dark atmosphere sounding track, with chugging riffs and a snazzy little guitar hook that is reminiscent of a distinct 80s cartoon villain vibe of shadowy figures and suspenseful thrills. Lachryma is a masterful song, full of bursts of energy as guitars scream, fast and furiously. Lyrically, Lachryma divulges an almost fierce determination or a stubborn anger, of someone who is done with the demands of those who will not let them have peace and sanctity. As Forge sings ‘Everybody knows everywhere I go, I can never run and I cannot hide’, this could possibly be an inner reflection of the cost of fame, eating away until there is nothing but a skeleton remaining with the sacrifices that come when stepping into the spotlight. The video for Lachryma features an almost Nosferatu vampiric theme and a child scared of the dark and what it hides, adding to the possible idea of the fame monster concept The layering of Lachryma has angelic soaring overtone vocals and synths, carried on waves of heavy guitar riffs, deep bass notes and hard hitting drums. It is a relentless track that thunders through your chest and pierces your heart at the same time.
Satanized
Satanized is a dark and dynamic track, released as a single ahead of SKELETÁ. It has hard hitting drums, big energetic synth ranges and driving guitars, reminiscent of that heavy rock 80s sound. What sets Satanized apart is the dynamic 6/8 rhythm providing for a pretty bounce to the track and making it so damn catchy. It is tight and intense, and rather invigorating. At around the 1 minute 20 second mark there are some deep baritone fancy Latin words being chanted over some solid chugging guitar riffs, providing a textured overlay to the song. Satanized also holds a fantastic soaring guitar solo that takes you to new heights as it crescendos then descends back into a beefy little riff. It is an audible delight! Satanized takes us on a tormented journey that toes the lines between desire and destruction. The imagery of a deadly affliction twisting at his core adds to this thought. Lyrically we are faced with themes of regret as Forge sings ‘I should have known not to give in’ and ‘save me from the monster that is eating me’. This could also reflect an internal struggle and inner conflict of this vulnerability, surrendering yourself to something. The final guitar solo adds to the sense of spiralling inner chaos.
Guiding Lights
The fourth track on SKELETÁ has a softer start with a harpsy chord. It is more inward shift and haunting ballad, blurring into a sombre introspective tone. This track features more classic 80s hard rock guitar riffs that are also reminiscent of an 80s villain coming onto the scene of an old-school cinematic showdown. There is a wicked solo following some heavy chugging riffs at 2 minutes 20 that absolutely soars, taking listeners on a journey through the clouds. Lyrically, we see concepts of uncertainty of the journey, as Forge sings of paths walked leading into the dark and of roads leading to nowhere. This could reflect existential questioning with goals and ambitions seeming elusive and out of reach as the lyrics include that the road ‘feels endlessly long’. As a haunting ballad, it conveys feelings of being lost while in pursuit of something great. It is a contrast between journey and destination that we see throughout SKELETÁ as guiding lights traditionally guided ships to safety. Maybe Guiding Lights will serve as a guiding light to others who wish to follow.
De Profundis Borealis
The fifth track we are treated to on SKELETÁ is De Profundis Borealis, which shares a title from Irish poet Oscar Wilde’s famous jail letter. De Profundis Borealis has a slower, deeper, more broody start than its other punchier counterparts on the album, with soft, tinkley keys luring listeners in and building a sense of tension. This doesn’t last long though because soon listeners are smashed in the face with the full force of the guitars and drums, showing that while it started soft, De Profundis Borealis is just as fast paced and driven with hard hitting drums and wicked little fills, carried by deep heavy bass notes. The first entire minute of the track is a climatic build up before we are tipped over the precipice and the anticipation eases. There is a phenomenal drum break down and some hauntingly beautiful chanting baroque vocals in the background. The guitar solo screams its own journey that you are swept up and carried away on, between contemplation and explosive release. Conceptually there are themes of imprisonment and reflection, breaking the chains and freeing oneself from a frozen palace. Lyrically, we are painted a picture of frozen isolation, where secrets are kept in icy silence. The song evolves to sound almost like a war cry and an escape for freedom. The backing choral elements give a sense of loss and hope, of containment and liberation, before fading to leave you wondering where to next. De Profundis Borealis is a hauntingly beautiful track and adds to the complex depths of SKELETÁ as a whole.
Cenotaph
A cenotaph is a monument built in honour of someone who’s remains lie elsewhere, essentially becoming an empty tomb. Cenotaph is therefore a fitting name for the next track on SKELETÁ, starting on a nice hard drum fill and floating synth sounds providing a haunting soundscape before the guitars crash into existence. Cenotaph sounds like your classic 80s style horror movie slasher chasing victim sound track with big waves of synth leaving fear lingering, while big guitar chugging riffs carry you to the darkest depths. This track is super boppy, fast paced and upbeat. For the title to be an empty tomb, this track is anything but lacking substance. It has some super cool synthy solos that sound jingly and nice to the ears. Cenotaph provides a lush sonic sound that delights the senses and adds an unexpected bright touch to the SKELETÁ soundscape, as if it were a journey through grief and a beautiful reflection on what comes after we are gone. The lyrics kick in around 20 seconds into the song, with themes of places existing and connecting with one another from skies and lands and oceans. The tense changes between past and present in the song, which marks Cenotaph as different to the rest of the tracks on SKELETÁ and capturing feelings of longing and memory. Lyrically, the song talks about always being together with someone, through the journey and then still being there with them as the journey goes forward into the future. This could be a reflection of Ghost’s evolution so far in their musical journey and an ambitious outlook into the future. Cenotaph is the sixth track on SKELETÁ so to have concepts of past and present in this song fit well, to reflect back on the first half of the album and to look forward at what is to come.
Missilia Amori
The seventh track on SKELETÁ is Missilia Amori, with punchy guitars straight from the get go set over rhythmic drumming. The opening lyrics talk about wanting out from an undesired situation like harsh reality. We are taken straight into the chorus with this track packed full of sexual innuendo and suggestive undertones with deep grooving bass bringing a sensual vibe. A soaring guitar solo at 2 minutes 50 seconds in sees the guitars climbing higher and faster to build a crescendo, taking you on a limitless expedition with unknown endings. For a song full of sexual intonations, Missilia Amori is an intensely passionate song of emotion, delving into loves destructive power, morphing from passion to vengeance. The lyrics ‘love rockets, shot right in between your eyes’ paints love as something that can be weaponised. It hints towards the vulnerability of unattainable desire and perilous love. This track departs from the other tracks on SKELETÁ simply because of the intentionality of a sensual lustful and yet vulnerable concepts.
Marks Of The Evil One
The eighth track on SKELETÁ treats listeners to something of a forceful and powerful battle track about the four horseman of the apocalypse. It is a darker energetic track in theme and concept to its previous counterparts on the album, with the anticipation building lyrically from each rider being introduced. Following is the first mentions of an ‘evil one’ and a serpents lair, sky falling and eclipsing suns, giving a sense of urgency around an unseen menacing force. It seems almost Armageddon and end days with apocalyptic imagery in concept with the refrain ‘here they come’ building anticipation of something terrifying about to emerge. There is a soaring and climbing guitar solo to carry you along musically that grips your ears and doesn’t let go. It sounds reminiscent of an 80s metal guitars shredding with pounding rhythms through the background of a thriller movie. Marks Of The Evil One slows down around 2 minutes 45 seconds and gets very synthy and warpy, bending the shredding guitars through another soaring and climbing crescendo before ruthlessly crashing back down into a tasty solo. This track captures rising tensions and destruction, blending the occult and dark magic for an almost ritualistic feel. Marks Of The Evil One is a reminder of Ghost’s ability to deliver hard hitting, raw energy with concepts of dark transformation.
Umbra
Umbra is the ninth track on SKELETÁ and stands out straight away for its intentional use of cowbell. There is a big warp sound at the start like a massive sound scape and then the synth cuts through, like something you might hear in Bladerunner. At around the 50 seconds in mark, the guitars and drums kick in, picking up the pace for a fast and furious concoction of soul destroying rock. Umbra treats us to themes of a holy sacred place, shadowed and hidden, with an altar of worship. There is a quirky build up with wicked tinkly synth bits throughout, complimented by whammy dive bombs and a wicked guitar solo. There is plenty more cowbell throughout the entire song, along with more synth solos, and an escalating drum solo to lead into a guitar solo. There is a synth versus guitar solo-off part way through the track that takes you on a crashing high and I would call this perhaps one of the best solos in the entire album. It is an absolute delight to the senses and you could close your eyes and listen to it on repeat for years! Overall, Umbra takes us closer to Ghost’s darkness and allure. The heavy use of cowbell is traditionally found in light hearted tracks, however this song is anything but. It is an intentionally unusual choice that adds to the mystery of the song. Lyrically, the track is haunting and full of spiritual worship and imagery of shadowy devotion. It invokes a sense of love and death, referencing altars, candles and a holy place. Umbra captures the spiritual damnation that Ghost are so well known and have a cult following for.
Excelsis
Excelsis is a much slower song with a softer start, similarly to Peacefield’s softer introduction to SKELETÁ. It is similar to Ghost’s previous track, Life Eternal, but takes listeners on a different journey. Excelsis plays as though a slow waltz, wrapping SKELETÁ up with an acceptance of the end. Lyrically, it talks about themes around being the end, but entices listeners to continue on the journey, perhaps to the next era with Ghost. The drums kick in part way through the song, carrying the beat with a simplistic beauty before a pure simple beautiful guitar solo at around 3 minutes 50 seconds full of big memorable bends. Excelsis sounds like a big journey ballad that pulls you into its embrace, reassuring you before another big journey is about to happen, before fading out. Concepts of deliverance and redemption are found throughout with imagery of a flood washing away the sins, and invitations to ‘come with me to the rainbows end’. It is a simple, slower and beautiful end that ties in nicely with Peacefield, concluding the journey of SKELETÁ as a comforting catharsis while promising more to come.
SKELETÁ is Tobias Forge’s lovechild, born a few decades late but marinating since the 80s, with complex layering to create dark atmospheric soundscapes. It is a phenomenal body of work as a whole and singularly each track has something to offer everyone, whether you like it fast, punchy and loud or softer, slower and more tinkley. I cannot get enough of this whole album. Every song brings something different, a different feeling or emotion and yet through an introspective lens still reflecting on humanity and society in the world we live in as a whole, rather than just outwardly observations. Still tied together through 80s guitar harmonies, synthy tinkers and a steady yet strong rhythm section. The guitar solos are soaring, whirling, floating you to the heavens then plummeting you back into the depths of hell and back to reality again. The concepts include themes of religion, power, rebellion and worship, but to whom is the question, and for what reason. It is an iteration of spiritual fortitude and artistic resilience. SKELETÁ takes you on a journey, it grips you and doesn’t let you go, it captures your mind, your heart and soul. For an album as a whole, you will want to listen to it from start to finish and turn it up loud. It is one of my favourite albums I have had the pleasure of listening to, and a strong contender for Album of the Year!
10/10
Ghost continue their world tour for SKELETÁ, click here for more information. With thanks to Dallas Does PR for the review opportunity.
