Location: Linkoping, Sweden
Genre: Psychedelic Doom
Released: August 21, 2015
Format Reviewed: FLAC
Feature: Global Conquest – Recent Releases
By: Kris Kotlarik
This being Ghost’s third album, I could make some cliché statement about this one being the charm if not for the fact that they already had me at their debut, Opus Eponymous. The combination of “Deus Culpa” and “Con Clavi Con Dio,” organ and all, is high on my fictitious list of memorable album openers and the rest of the album was generally pretty good.
Their follow-up, Infestissumam, took some of that sparkle out of their sound. “Year Zero” is a rare distinction in that it serves as a single for the album and is actually the best track on it. So after some legalese regarding their name and the “death” of Papa Emeritus II, the anonymous band created Papa Emeritus III and undertook a slightly different direction under producer Klas Ahlund (who has run the gamut of all kinds of pop music since 1998 ranging from Eagle Eye Cherry to Ke$ha). The easy assumption would be to declare that some shadow writer would come in and fuck everything up for the band and its image, but that assumption would be incorrect.
The production on Meliora is stellar, and the poppy elements of the production lend to some catchy music. What we have here is an album that is fun and has plenty of replay value, but to say that it is a truly great album would be a stretch.
“He Is,” and “Spirit” are both fantastic songs. The former comes across as an extremely well-done parody of a church hymn, while “Spirit” is another solid album opener for the band with a haunted house feel permeating the song, even during the heavier, Black Sabbath-y portions.
The rest of the songs are generally good, but have their flaws. “From The Pinnacle To The Pit” and especially “Mummy Dust” have a solid premise but are repetitive. “Absolution” has an amazing chorus and the most Kansas-sounding bridge not played by Kansas, but the verses are forgettable. The ballad, “Cirice,” meanwhile, is too long for its own good. One feature that I really like about Meliora is its interludes, “Devil Church” and “Spoksonat.” I normally do not care for interludes, but they flow together well with the album’s main tracks.
Album closer “Deus In Absentia” is another haunting track; the echoing effect at the end of each chorus, as well as the choir section at the end of the song, really hit home. Surprisingly, Ghost’s Satanist lyrics are noticeably tamer this time around, and I think it’s a good look for them. Infestissumam came off as trying too hard with the shock factor, which was a hindrance to the overall package.
Adding some more progressive elements will help on future releases. For those who aren’t particularly obsessed with changing rhythms and melodies, Meliora will be a solid spin many times over with its doomy psychedelia.
Overall: Entertaining, but occasionally repetitive.
Listen to the official full-album stream with links to purchase Meliora here