Swedish goth-rock/doom metal outfit Ghost releases their new album, Impera, which follows 2018’s Prequelle, an album that was heavily criticized by some, yet featured “Dance Macabre,” which went on to amass more than 94 million streams on Spotify alone.
Those who complained about Prequelle declared it anodyne, tacky, and way too poppy. Whether or not Tobias Forge/Papa Emeritus IV heard the complaints and took them to heart, one never knows. Nevertheless, Impera eschews any resemblance to Prequelle, going in for more complicated compositions full of heft.
According to Tobias Forge, Impera is about “the rise and ultimately the unescapable fails and falls of empires.” In other words, Impera is an account of the destruction and subsequent obliteration of the earth, which makes the album eerily portentous at the present juncture.
Along with the impossible to differentiate Nameless Ghouls, the album features an array of guests: Martin Hederos (piano), Hux Nettermalm (drums), and Fredrik Åkesson (guitar).
Encompassing a dozen tracks, the album begins with “Imperium,” opening on gentle guitars, followed by a rolling snare and Boston-like guitar textures.
Entry points include “Kaisarion,” a heavy rock number with hints of prog-rock topped by Papa Emeritus IV’s rhinal voice. Potent riffs give the tune brawny textures, while finessed percussion imbues the rhythm with muscle.
The intro to “Call Me Little Sunshine” is superb, and then rolls into shadowy leitmotifs, infusing the melody with dark, ominous flavors. A Ronnie James Dio-like guitar solo instills awe-inspiring licks and is followed by a soft, almost shimmering breakdown.
“Hunter’s Moon,” a personal favorite because of the stylish drumming, especially on the intro, travels on waves of thrumming guitars, giving the harmonics pushing momentum. Another excellent track, “Watcher In The Sky” starts off on heavy, chugging guitars, while the rhythm shudders with rumbling dynamics.
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Like an orchestral dirge, “Dominion” simultaneously separates the album into two halves and provides a murky Wagnerian interlude. This is interesting because the second half of the album lacks the creative oomph and sophistication of the first half.
The best tracks of the latter one-half of Impera include “Griftwood,” vaguely reminiscent of Thin Lizzy crossed with Motley Crue, and “Respite On The Spitalfields,” riding a measured rhythm that ramps up to denser guitars. A searing guitar, under exquisite control, delivers incandescent tones. From there, the tune gathers scope and sonic essence, culminating in a breathtaking wall-of-sound.
At once striking and surging with complex washes of substantial sonic mass, Impera is a dazzling tour de force.
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