Ghost: Meliora

The engimatic Swedish band Ghost (briefly known as Ghost B.C.) are in an odd place in the metal world right now. They’re maybe the only modern metal band to earn accolades from both Darkthrone‘s Fenriz (one of their earliest supporters as a part of his “Band of the Week” feature) and Dave Grohl (who has played with them live and produced their covers EP If You Have Ghost). Ghost’s main appeal is not only their throwback sound, but also their presentation, which combines black metal’s anonymity with a theatrical, sometimes silly macabre bent only slightly removed from King Diamond. Even if we didn’t ask for a new Kiss, Ghost is just that.

But if their 2013 sophomore album Infestissumam was supposed to be metal’s second commercial coming, there couldn’t have been a worse album to place that expectation upon. Opus Eponymous, their unabashedly derivative 2010 debut, at least had solid hooks. There’s that whole thing about catching more flies with honey than vinegar, but vinegar is a crucial ingredient of metal. With Meliora, their third full-length, they’ve dropped the temporary B.C. from their name and returned to a heavier direction, ditching most of the lite Mercyful Fate/Blue Öyster Cult hybrid for more folk and Deep Purple influences. It’s far and away a more engaging record than Infestissumam, but still, you have to wonder if Ghost should be metal’s new chief representative.

Commending a metal record for having an upfront guitar sound seems unnecessary; that said, Andy Wallace’s mixing was what Ghost needed, and now their desire for the metal big-time at least has a fitting production. Ghost also stepped up when writing more aggressive material befitting of the menace they wish to breed. While opener “Spirit” takes its time kicking in, “From the Pinnacle to the Pit” has that drive sorely missing from Infestissumam. The choral breaks and aggressive organ drives, like Purple in their prime, contrast so well, their fullest realization of “seductive Satanism” so far. And even if the Rainbow groove and driving bassline aren’t anywhere close to new, some things still work decades later for a reason.

“Cirice” was a wise choice for a first single, a combination of familiar strengths given new life. Again, the contrast of somber acoustic guitars and foreboding strings has been used time and time again, but it’s just the launching pad for the song’s main riff. In metal, it’s very difficult to write a compelling midpaced song—Tom G. Warrior and Dimebag Darrell are among the few to not be cursed—so that Ghost gets that rare boogie right is enough of an accomplishment. “Majesty”‘s intro must have been lifted straight from Deep Purple’s Perfect Strangers, oozing blusey swagger that Ghost has never tapped into before. Ghost’s presentation works better in a live setting with a powerful PA, and that song has all the potential to become a live staple.

Meliora also reveals the limitations of Ghost’s vocalist, who this time is the third incarnation of satanic pope Papa Emeritus. (Part of Ghost’s gimmick is that each Papa Emeritus “dies” and is succeeded by a different Papa Emertius with every album, even though it is, in fact, the same vocalist.) His soft approach to incantations is apt for “He Is”, which shows off the folkier side of Ghost. Otherwise, it can’t keep up with his Nameless Ghouls (the name of the Ghost “band”). For all of “Mummy Dust”‘s strengths, as it plays with the loud-soft dynamics in a spookier way, a little more drama in the vocals would have really brought it to its full potential. There are plenty of moments where you wish Papa wouldn’t just coast on a croon, but would instead let out a maniacal laugh or scream.

That goes back to the central problem of Infestissumam: no matter how accessible you want to be, metal is nothing without a little tough confidence. Granted, getting compared to King Diamond must get old by now. That doesn’t mean Papa Emeritus III couldn’t vary it up, whether he wants to take it up himself or bring in a rival Pope with a different vocal range. (It’d add to the stage show.) In “Pinnacle”, he brings a little snarl to his delivery, which should have been applied more liberally throughout the record. Papa Emeritus also doesn’t add much to closer “Deus in Absentia”, which makes the song feel twice as long as it actually is, and ends up being the weakest track on the whole.

Except for “Pinnacle”, “Majesty”, and “Cirice”, none of these songs feel essential or ready for headlining festival slots. That brings us to the ultimate question around Meliora and Ghost in general: What are they bringing to metal, especially for those who are not super into the underground? Say what you will about hair metal’s shred pyrotechnics and blatant bubblegum tendencies, it at least brought something new to mainstream metal. Grunge was not the anathema to metal as is the popular narrative, but actually reaffirmed Black Sabbath’s status as metal masters by taking more from them than most bands before. Since then? Most of the innovation and excitement has gone underground. So, what is Ghost doing, exactly? Is metal so desperate for a commercial force that we’re willing to accept a crooning Pope as our savior? Is Ghost for Kiss fans who want their kids to have another Kiss, instead of something new? When the cloak comes off—and it will, sooner or later—there may not be much left behind. Ghost don’t deserve outright scorn that hellishly opinionated metal fans can dish and dish, and Meliora is a step in the right direction, but their pandering can only go so far, and even then, it might be misguided.