This review may get a bit lengthy, so bear with me.
Tobias Forge (aka “Papa”) is no dummy—in fact, in many ways, I consider him a musical genius. After experimenting in various death metal bands in his early 20s and dabbling in glam and pop, Forge formed Ghost around 2006 in Sweden. Over the next two decades, he transformed Ghost from an underground cult band playing small clubs into a major musical force that now sells out hockey arenas.
To accomplish this, Forge built an entire fictional universe around the band, featuring various “Papa” personas and anonymous musicians known as “Nameless Ghouls.” He’s a master marketer, crafting films, websites, merchandise, and lore to surround the band’s shadowy aesthetic. Ghost’s early albums were steeped in dark imagery, but always with a wink—tongue firmly in cheek, full of theatrical humor in both videos and live performances.
Forge remained anonymous until 2017, when a lawsuit filed by former bandmates over unpaid royalties revealed his identity (Forge won the case). But none of this mythology would matter if the music wasn’t good—and in Ghost’s case, it’s very good. Forge is a master at blending dark metal with arena rock, a touch of prog, and a strong pop sensibility. His knack for crafting memorable hooks, his songwriting talent, and his charisma as a frontman have fueled the band’s rise.
Ghost’s sound is a melting pot of influences—Blue Öyster Cult, KISS, ABBA, Mercyful Fate, Black Sabbath, Alice Cooper, ELO, and more—combined into a formula uniquely their own. Forge has built a rock empire, and he’s made it clear in interviews that he wants to take Ghost even further—into the upper echelon of bands like Rammstein that can fill football stadiums with massive productions.
To reach that level, he knows Ghost’s music needs to become more accessible—less about the devil, more about peace and love. Skeleta feels like the next logical step in that direction. While there are still tracks with titles like “Satanized,” the album lacks much of the darkness or edginess of earlier releases.
Honestly, I find Skeleta to be a “safe” album—not one I love or hate. Every track feels crafted to be a potential single. The hooks are undeniable, the guitar work solid, but everything is short and tightly structured. There are no overtly proggy moments like we’ve heard in past albums. The final two tracks, “Umbra” and “Excelsis,” stretch out a bit, but still stay under six minutes.
Every song on Skeleta is good—but are any of them great? I don’t hear a “Square Hammer,” “Respite on the Spitalfields,” or “Cirice”—no standout that instantly feels like a classic. Ghost has often been compared to Blue Öyster Cult, and Skeleta reminds me a bit of BÖC’s Mirrors album: slick, commercial, and polished. Tracks like “Missilia Amore,” with its “Love and Rockets” vibe, and “Umbra,” with its cowbell, could easily pass for slightly cheesy BÖC songs.
I remember not caring much for Mirrors when it first came out, but over the years, it became one of my favorite BÖC albums. Maybe Skeleta will grow on me in the same way.
Either way, the formula is clearly working. Skeleta is the first hard rock album to reach #1 on the album charts in nearly five years. That alone is an impressive feat, and I have to give Tobias Forge credit—he’s one of the few major artists still flying the flag for guitar-driven rock music.
In the end, Skeleta is a good album from Ghost. Whether it becomes a great one may depend on time—and repeat listens.
by Steve Sly
