Ghost – Skeletá (Album Review)

The Swedish metal band returns triumphantly with their mesmerisingly anthemic and atmospheric sixth full album in the wake of their world tour.

While Ghost has continually faced criticism throughout the years by genre purists for their classification as a ‘metal’ band and their Satanic lyrics and imagery, the band have never failed to keep their heads held high while putting out some of the most striking music in recent memory. Formed and masterminded by singer Tobias Forge in 2006 in Linköping, Sweden, the devilishly charismatic masked group captured audiences with their signature doom-metal style, haunting vocals and gloriously bombastic choruses. Now in the midst of their 2025 ‘Skeletour’, Ghost release the ethereal Skeletá; a ten track rollercoaster through epic stadium rock highs and moodily introspective metal ballads.

The album starts with the stunning and uplifting ‘Peacefield’, whose deeply stirring vocal chorus in the beginning of the track sets the tone of grandeur for this larger than life album. Designed as an anthem to inspire hope in listeners while facing hard times, the bold opening riff is deeply moving and thrilling in equal measure. Utilising the classic 80s rock/metal guitar work for the tracks on Skeletá, singer Tobias Forge crafts a sound that will be profoundly nostalgic for many while infusing Ghost’s sinister lyricism and ineffable charm. This is definitely felt in ‘Peacefield’s wondrous chorus, which is currently used by the band as the opener to their spellbinding Skeletour shows, and which thrums with a jubilant and infectiously driving energy.

Next comes the album’s second single release ‘Lacryma’; an 80s rock banger that opens with a synth intro that quickly transforms into a chugging riff. The song cleverly builds tension through the verses and pre-chorus amidst the band’s head-bopping guitar work and creeping bass. This all cumulates in another incredible ear-worm chorus, a well-known staple of Ghost’s music catalogue by now, which is crowned by Forge’s effervescent vocals that overflow with charm and emotion as he compares a dying love to the draining effects of a vampire (“I’m done crying over someone like you…hope you’re feeling it too now”).

The first single of the album, ‘Satanized’, also greatly makes use of this song structure in a track that speaks of a love so passionate and all-consuming that it is mistaken for demonic possession. “There is something inside me, and they don’t know if there is a cure” sings Forge over the top of the unapologetically captivating croons of guitars and thumping percussion. The chorus’ outraged calls of “Blasphemy, heresy!” bolster ‘Satanized’s already fevered acclaim, as it draws listeners in with haunting melodies and serpentine harmonies.

All of this does not mean that Skeletá’s B-Side tracks should be overlooked though. Both ‘Guiding Lights’ and ‘De Profundis Borealis’ are powerhouse tracks that overflow with emotional sensibility through their juxtaposition of soft piano melodies with bold guitar riffing and Forge’s coarsened vocals. With both songs referring to finding one’s inner strength through either a loved one’s passing or general hardship in life, many listeners will ultimately be able to relate to these tracks.

‘Cenotaph’ is perhaps the album’s most upbeat offering even though it also deals with losing a loved one and processing that loss. Forge puts an optimistic spin on it though, with ‘Cenotaph’s up-tempo beat, boppy rhythms and Queen-esque riffs putting into perspective that those that have past on are always with us in spirit.

Both ‘Missila Amori’ and ‘Marks of the Evil One’ begin with colossal, swaggering guitars that carry the weight of the songs’ old-school metal appeal. While ‘Missila Amori’, meaning ‘Rockets of Love’, illustrates love turning slowly to hate through a spirited chorus punctuated by groovy guitar calls, ‘Marks of the Evil One’ is characterised by a rousing opening riff that transitions into an addictive, harmony-riddled chorus (“There, there, the marks are spreading everywhere”).

The final two tracks, ‘Umbra’ and ‘Excelsis’, are nearly worlds away from each other. The former track is a vivacious rock banger filled with bubbly synths, lyrical innuendos and a euphoric chorus that is sure to have audiences bouncing on their feet and singing along in exultation. ‘Excelsis’ on the other hand, is a stunning six minute epic that lulls listeners with a delicate acoustic arrangement and a beautiful lullaby-like delivery from Forge. Thus Skeletá ends on an introspective note; the singer soothing listeners with the assurance that death is not to be feared, as it is just a natural part of the tremendous cycle of life we all must experience.

Score/Outstanding: Long-time Ghost fans may hold the hope of the band returning to their heavier musical roots, but the group’s trial of 80s revival on Skeletá certainly is not style over substance, but rather carries powerful emotional and societal messages many people may need to hear. Skeletá is indeed a new era for Ghost, and is therefore something to be cherished.

[We rank singles, EPs, and albums on a scale of Poor, Mediocre, Good, Excellent, and Outstanding]

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