By KRISTOF G.

It’s been already a dozen years since Ghost first shocked the world, as the anonymously masked musicians emerged from the darkness with their first record, OPUS EPONYMOUS. The group went from unknown Halloween-esque curiosity to a full-blown stadium-size ensemble after leader Tobias Forge (read our 2019 interview here) came out as the Swedish band’s main man, being the singer, composer, spokesperson and mastermind behind the whole satanic shtick. Yes, since day one, it was he who crafted a meticulously intricate concept involving awesome visuals, creepy but fun videos and the elaborate theatrics the band offers their faithful disciples. And once you accepted the fact that Ghost didn’t have anything to do with black metal whatsoever, you embarked on their colorful ride, without ever looking back.

Out March 11 on Loma Vista/Concord, IMPERA is Ghost’s fifth album, and it’s been too long since their last output (the short-but-sweet SEVEN INCHES OF SATANIC PANIC, reviewed here)–even if they did tease us with the release of the song “Hunter’s Moon,” featured on the HALLOWEEN KILLS soundtrack and end credits. IMPERA’s gorgeous cover art was created by longtime Ghost artist Zbigniew M. Bielak (since 2013’s INFESTISSUMAM), who has also designed visuals for many of the heaviest bands out there, from Carcass to Watain. For this piece, he was reportedly inspired by Aleister Crowley, and it’s reminiscent of both Tool and OG Iron Maiden artworks as well. Thematically, Forge has said, he drew this time from the rise and fall of empires, after exploring the European black plague in 2018’s PREQUELLE. One can wonder if Papa Emeritus IV (the newly appointed main character of the band’s narrative saga) foresaw the future once again…

Pop producer and fellow Swede Klas Åhlund was behind the console (as he was on 2015’s MELIORA), and it’s quite evident. His vocals work is amazing, expertly blending ABBA/Beach Boys-esque, choir-like harmonies and a hard-rockin’ production channeling both Robert John “Mutt” Lange (AC/DC, Def Leppard) and Desmond Child (KISS, Alice Cooper, Bon Jovi). After they helped out on a couple of hits from PREQUELLE, Forge recently revealed that compatriots Salem Al Fakir and Vincent Pontare (writers of tracks for huge stars such as Madonna and Lady Gaga) were also back, while Opeth’s axeman Fredrik Åkersson was on hand to record all guitars for the album.

Which makes a whole lot of sense, since Ghost has always enjoyed counterbalancing their memorable melodies with meaty riffs, their sweet side with a more nutritious one, like a good ol’ Mini-Wheat. Think about it: They have that radio-friendly top 40 appeal (as pop as it is arena rock, from Aerosmith to Europe), while their Mr. Hyde hides in plain sight, all over their crispy/groovy six-string lines and horrific visuals. The best of both worlds, even if it can sometimes be too gloomy for the pop kids and too glossy for the more obtuse metalheads. IMPERA is full of anthemic songs that somehow manage to keep Ghost’s vampiric bite and sink it into our head-bangin’ necks whenever necessary (something a certain Bay era metal band hasn’t been able to achieve since the ’90s).

Let’s deep dive into IMPERA’s empiric trip, song by song:

“Empirium”
“Kaisarion”
“Spillways”
From the get-go, after a soft classical prelude à la Metallica’s “Sanitarium,” the record kicks things off with a one-two punch, reaffirming Ghost’s flair at blending heavy and memorable. “Kaisarion” elicits serious The Darkness vibes with its upbeat and sunny mood; you can almost see Papa smiling under his mask, rockin’ like there’s no tomorrow. Eddie Van Halen (RIP) would’ve loved it. Then “Spillways” arrives, catchy AF, poisonous like the shock rock master himself, with HYSTERIA chants on top and some Bon Jovi keys to boot.

“Call Me Little Sunshine”
“Hunter’s Moon”
“CMLS” somehow taps into ’90s Metallica (think “Until It Sleeps,” and even its Matt Mahurin-directed video). Then follows the HALLOWEEN KILLS song, in classic Ghost mode, with ecclesiastical keys and a vintage guitar sound, before starting to rock big time with its big earworm of a riff, just like Judas Priest used to do eons ago.

“Watcher in the Sky”
“Dominion”
“Twenties”
“Darkness at the Heart of My Love”
Next, another duo of monster songs kicks like crazy. “WitS” contains a huuuuuuuuge but oh-so-simple fist-pumping riff (early shock-rockin’ Manson/Zombie stuff comes to mind), within an Ozzy-meets-Crüe, arena-ready tune, complete with twin-guitar action and rollercoasting choral dexterity. Past the organ prelude (“Dominion”) and brass intro, you realize “Twenties” is something that could have been on a bizarro-world version of THE BLACK ALBUM. You have this perfectly crunchy riff and some eerily great gang vocals, before a tremendous solo rips us a new one. You can take a breather—or a leak, if it’s not your thing—during the lighters-ready “Darkness,” the fourth Al Fakir/Pontare co-penned song in a row, with its snappy, mellow harpsichord mood (think The Beatles meets Queen).

“Griftwood”
“Bite of Passage”
“Respite on the Spitalfields”
Thanks to co-writers Åhlund and Peter Svensson (The Cardigans), “Griftwood” possesses a gigantic pop(e) rock feel that only bands our parents love (like Tom Petty, Toto, Hall & Oats) can exude, with a great dash of Trash thrown on top. After a short “The Call of Ktulu”-esque intro (“Bite of Passage”), “RotS” bewitches with solid arrangements and a whispered yet scary chorus, ending the whole thing with what will surely become a concert singalong anthem of Dickinsonian proportions. Plus, it’s about Jack the Ripper. What a great way to close this awesome record, right?