Album Review: Ghost - Opus Eponymous

Ghost - Opus Eponymous

Rise Above Records - 2010

9.5/10

Often viewed as the only “truly metal” Ghost album, the debut of the controversial band seems to invoke all sorts of interpretation. Having discovered the band shortly after its release, Opus Eponymous became an instant favorite nearly overnight. While a resurgence of traditional old-school heavy metal was already underway around this time, few took the doomier steps that Papa Emeritus and the Nameless Ghouls would conjure up. Instead of focusing on speed metal or NWOBHM throwbacks, they went after something truly cold and stripped down.

That sheer coldness and undead feeling is what  sets this record apart from the others for me; not that it’s the “only metal one.” As early as Infestissumam, the gimmick becomes far more clear, and the band’s progression from album to album would reveal some of their silliness as they gain popularity. But there is literally none of that here. Despite the hookier rhythms and obvious ear for melody, there’s no shortage of occult blasphemy nor heavy bottom. Guitars are coarse and crushing, utilizing crunchy tones to their advantage. The subjects of human sacrifice, Satanic prayer, and dark forces are served on a very concise platter.

Keeping all of this in mind, it’s not difficult to imagine why I found so much of this jarring. Mostly in the back half, this is packed with songs that I still find genuinely unsettling to this day. “Satan Prayer,” “Death Knell,” and “Prime Mover” all coast along with bass-backed doom rhythms, suspenseful build-ups, and contrast between pacing from chorus to verses. Immaculate writing, yet so simple. The minor toned licks fused with eerie organ garnishes do wonders for complimenting Tobias “Papa Emeritus” Forge’s haunting vocals.

Not to say there isn’t some good old heavy metal fun, but it’s still not coated with pop-rockisms (yet). “Ritual” and “Elizabeth” sorta work as the album’s earworms, feeling a bit more welcoming without ditching the feeling of being trapped in a dark-age fortress. Bookending these might be the album’s heaviest songs. “Con Clavi Con Dio” lets on bass fury early on with some of the deepest riffing in the bridge. Moreover “Stand By Him” cuts in an energetic solo with harder drum kicks and faster speeds without needing a transition. The effect of this alone works wonders, even before you coat on the chilling keyboard tones.

For years I was never really sure what it was about Opus Eponymous that made it stand out so much from the others, but the freezing atmosphere and the serious tone that it breathes has to be it. Closer “Genesis” perhaps hints at the warmer songs that would enter moving forward, being arguably the only song to let in calmer, brighter feelings. Its keyboard intro, steady twin-guitar attacks, and acoustic resolution is one of the best ways to package up an album I’ve ever heard. From the disorientation of “Deus Culpa” through the entire brief ride, this is traditional heavy metal laced with doom influence and horror-stricken ingredients to the max.