Where Harmony and Horror Collide with Nostalgia and Zeitgeist - A Review of Ghost's Impera

Ghost has perhaps been the most commercially successful newcomer band in the metal genre of the past decade. While the band's unique combination of masquerade, imagery and gloom has received much praise, others criticized the group for being artificial, gimmicky and mellow. Impera will please fans of old date but won't convince any naysayers as the band remains faithful to its trademark style. What's most remarkable about the new material is that the songs are addicting and catchy right from the start but fail to leave a deeper mark and stay on your mind for a prolonged period of time. Many tracks have been crafted with expertise and wit but sound too similar to previous cuts from the immediate predecessors. This is why this album is ultimately a mixed bag offering an excellent first impression but only an average longevity.

The record's greatest song might be ''Kaisarion''. The opening instrumental leading to this highlight builds up anticipation, atmosphere and energy. The guitar riffs are melodic and playful. The soft and soothing vocals are catchy right from the start. The mysterious choirs add some gloomy depth. Despite the harmonious tone, the song has a few heavier passages such as distorted guitar sounds and variable pace in the drum department. The song fully entertains through five minutes and presents everything Ghost is all about. Atmosphere, catchiness, darkness, harmony and nostalgia collide in a song that could have already been published by a band like Blue Öyster Cult in the seventies but that remains timeless in an era when bands like Greta van Fleet excite the masses with the sounds of yore. This song is essentially this year's version of a song like ''(Don't Fear) The Reaper'' and would fit wonderfully on the soundtrack of a nostalgic horror movie.

This comparison is no coincidence and fits more than once on Impera. As a matter of fact, the record's lead single ''Hunter's Moon'' was included on the soundtrack of Halloween Kills, the twelfth instalment of the horror franchise that started in the seventies. Here they are once again, the band's connections to gloomy atmosphere and nostalgia that has somehow managed to stand the test of time. One has to wonder how a franchise has gotten to twelve instalments and the explanation is that most people like to stay connected to elements they have grown up with without thinking too much out of the box. Fittingly, Ghost does exactly the same in this song, combining gloomy verses with a catchy chorus in three entertaining minutes that are particularly easy to digest. This song is a little bit the equivalent of fast food in the metal genre but then again, fast food stores have also been popular for decades because they are easily accessible and quickly rewarding.

Another song that fits into this category and works very well despite being shamelessly predictable would be ''Call Me Little Sunshine''. The title might suggest a certain cute innocence and the catchy chorus could almost be a lullaby for children, but the lyrics and gloomy undertone reveal that the song actually talks about Mephistopheles. This contrast between harmony and horror works particularly well once again and it's needless to say that this rather calm and epic tune is also catchy right from the start and has been written to be sung along by the masses in concert.

If you are looking for a song that breaks new ground, the only revealing result turns out to be ''Twenties''. The swinging orchestral vibe of the song might remind you of the twenties from the last century, but this is only an illusion since the lyrics talk about the economic well-being of the current era that has recently been shattered by the ongoing pandemic. The song is therefore both nostalgic and on the pulse of our time and manages to be equally thought-provoking and danceable.

As you can read, Ghost remains faithful to its trademark style that has found a perfect balance between harmony and horror. Upon first impression, this album might be deserving of a very high grade in the nineties as there is no filler to be found and all songs are quite charismatic. In the long run however, the material loses some steam as the band keeps repeating ideas it has been using time and again, lowering the average to a fairly unimpressive grade someplace in the sixties. Therefore, the final result is logically once again a balanced compromise, just as the band's music itself, and sits in the low eighties. Fans of the band will unconditionally love this album for its trademark style while its opponents will criticize it for its lack of innovation. To keep things balanced once again, both sides actually have a good point here. If you have lived under a rock and not heard about Ghost yet, Impera should be a good starting point to discover this band. If you like this album, you have four others to discover. If you don't like it, don't bother.

Final Rating: 80%