Review Summary: Establishing the Ghost template on a smaller scale
Despite having only come out a little over a decade ago, Ghost has certainly come a long way since their 2010 debut album. It’s easy to forget that they were once just another one of the little occult doom bands that could alongside the likes of Uncle Acid and Blood Ceremony among others, putting forth a similar marriage of throwback rock and B-horror aesthetics. Listening to Opus Eponymous in hindsight makes for a different experience compared to the bigger budget bombasts to come, yet there were already signs of what would make Ghost stand out from their peers.
With the personnel on this album just consisting of bandleader Tobias “Papa Emeritus” Forge and a couple Nameless Ghouls, the musicianship certainly feels more grounded than subsequent outings. I find myself particularly drawn to the bass playing as it boasts an especially thick tone and a slew of bouncy bubbling lines that sit on near equal terms with the guitars. Said guitars also manage to bring plenty of power, sourcing many of the group’s Mercyful Fate meets Blue Oyster Cult comparisons with their ominous yet upbeat chugs and jovial leads, and the keyboards provide some extra color ala Deep Purple and Uriah Heep without getting too extravagant.
The vocals have come to be the band’s most distinct sonic asset. Forge’s mid-range tenor can admittedly feel limited on a technical basis and his demeanor is a major contrast from the in-your-face masculinity of your standard metal frontman, opting instead for a sly presence with a more androgynous sultriness. It would take time for Forge to grow into the role, but he does a solid job here. It’s especially interesting when you consider that Forge had originally wanted to just play guitar and was turned down by multiple singers. It’s proven to be the smartest move of his career; somebody like Messiah Marcolin or JB Christoffersson probably could’ve given this material some extra gravitas but it’s hard to imagine them pulling off their future pop metal with similar gusto.
Speaking of which, Ghost was already also demonstrating their knack for writing catchy as hell bangers here. The pacing on this album is relentless as each song presents its infectious hooks with energetic enthusiasm reinforced by the lean thirty-five minutes runtime. Tracks like “Con Clavi Con Dio” and “Genesis” bookend the album with an almost ceremonial flair, but the real meat comes with the middle tracks. “Ritual” and “Elizabeth” play up their more lighthearted aspects while tracks like “Satan Prayer” and “Death Knell” put on a more sinister overcast.
Along with serving as one of the strongest albums in the wave of 2010s occult doom, Opus Eponymous does a splendid job of establishing the Ghost template on a smaller scale. The band’s strong songwriting and distinct musical quirks are already in place and the lack of the future outings’ bells and whistles gives this one a decidedly more underground vibe. Forge has said that in the scope of Ghost’s narrative, this album is meant to portray the efforts of cultists summoning the antichrist and that esoteric intent is very palpable even with its fun execution. Subsequent albums like Meliora may be more iconic, but this one will always be my favorite.
