#once after con clavi con dio

[ghoodles]

Oh! I watched the ghovie on thursday, i forgot to say it

My mom went with me as well because of the rating, she liked it! This isnt exactly spoiler-y because im just talking about ghouls n ghosts as a whole but

- She pointed out that she liked phantom, dew, and rain, as well as cirrus and mountain

- Her favorite song of the movie was Dance Macabre (i showed her some ghost songs a while back, she also likes Miasma and Square hammer [Ceremony and Devotion])

- Believed copia's mask was just makeup and was baffled when i told her it wasnt

- The day after i told her about dew's bloody guitar incident and she thought it was cool, although commented on how it was a bit dramatic that he smeared it on a setlist that he gave out (from what ive heard)

[fireflyatlast]

As promised: Rite Here Rite Now Review

Spoiler free above the cut, spoilers WILL be under the cut. (Word count: 1110)

Wow wow wow. In simple terms, RHRN was incredible. The recordings were edited very well, the crowd was great, the vocals were amazing as always, and the long-awaited continuation of the chapters was very satisfying.

As a newer fan (really started listening right when Re-Imperatour was ending) I unfortunately never got the chance to ever see any shows live. However, despite my newer status, I have made Ghost a key part of my interests. (ask any of my lovely irl friends, they've had the misfortune of hearing my rants.) I've watched countless interviews and old rituals in order to make up for lost time, but never have I felt more immersed in any Ghost media than I did when I saw the KIA shows on the big screen. It didn't feel like I was in row G seat 12 of my "local" mall's Regal Cinema, it felt like I was right there in LA.

The opening 5 minutes as Square Hammer plays softly in the background was great. Because there wasn't much going on on the screen, everyone in the theater that I was in was softly humming or singing to themselves quietly (Side note: I was worried that people would be super disruptive as the movie was going on, and I was really happy to not have those worries realized. My theater was respectful for the most part, and the only time anyone sang was during that five-minutes of not much.) It felt very nice to belong amongst such a nice community irl. As an introverted neurodivergent, sometimes I struggle to find places or people welcoming or sharing my interests. So being in a theater full of people who love the same thing as me, as much as me, was such a nice feeling.

The cinematography during the entirety of RHRN was great, with my personal favorite segment being Con Clavi Con Dio. The editing was really nice for the most part, and I love the development Cardi was given throughout the movie. I feel my one gripe with the filming is that while we did get great perspective shots on the ghouls, we didn't get much of their personalities. And yes, I get that technically they are just hired musicians and not the main focus by any means, I think it just would have been nice to see more than just a handful of clips of them interacting with each other or Papa.

All in all, RHRN was a wonderful experience and I strongly suggest any Ghost fan out there gives it a watch.

And now its time for my more story-based review. Spoilers under the cut!!

Again, wow. I was pretty excited to finally get some more of the chapters, I'm a big fan of anything that has "lore" even if it doesn't need it, so I definitely owe the chapters a thanks for really getting me into Ghost.

I was thrilled to find that we finally had a true conformation of Cardi's parents. I had always theorized that while Nihil was Copia's father, Copia had come from an affair with the audience members in the Kiss the Go-Goat music video, and that Imperator was Copia's adoptive mother after Nihil's abandonment of him. It's good to know I was wrong rather than not I guess.

Something I also enjoyed was the constant foreshadowing of Sister's death. It wasn't very subtle, but its definitely something I only connected the dots to at the end. Whenever we saw Sister, we saw pills. Lots and lots of pills. I had originally brushed this off as a background joke, but once Cardi reads her note, I realized that the pills were for her unnamed "condition." I think going into it, all of us knew someone would die, I just personally thought that someone would be Copia, not Sister.

That after-credit scene was amazing too. I loved Cardi's new outfit, and the conformation that yes, there will have to be another papa. Which obviously, yes, of course there has to be a new papa, but now, it just feels so much more real. Speaking of the new papa I WISH WE COULD HAVE SEEN HIM AAH! I get cliffhangers, but he was RIGHT THERE!

I'm excited for the next era and the next papa, the next costume of the ghouls. I have a theory though. I see a lot of people being stressed about the changing of the ghoul costumes with the new era, but I think we have one more cycle with the Impera masks. I've noticed that each mask and costume stays the same for two cycles. Opus to Infestissumam, the only thing that changed was the costumes becoming more remnant of Catholic ministry-wear. From Meliora to Prequelle, the masks stayed mostly the same, now with an added more feminine looking mask and more "suit like" outfits over religious attire. I definitely think we have one more era with the Impera masks, but different costumes. Also speaking of the ghouls one of them talked!! I think it was Mountain, but honestly I have a shit memory and it could have been anyone.

Onto my focus on who Cardi actually is. I am so happy we finally got more of a look into his mind now that he is papa. I feel like his personality when he was Cardinal was very timid and awkward, however I never thought he would stay that way at all. I like that he's way more confident now, to the point that he's questioning the higher authority of the ministry and their ways. I love that this confidence is partly just a mask to keep his fears of death hidden. I think his fears manifesting as an angry, questioning personality gives him a lot more depth than if he just gained confidence through his performances, which obviously happened too, don't get me wrong.

The last thing I want to discuss is the credit song, "The Future is a Foreign Land." First off, loved it. It was great musically, and the uncertainty in the lyrics fit very well with all of our uncertainty about the next cycle. Second off, I can't be the only one who think it sounds very similar to Subvision. I personally love Subvision, and even if its only for that one song, I'm super glad that style was revived for Ghost.

In conclusion, I love the developments made in RHRN, and I am more than excited for whatever is next. I think my brain will have to marinate on what I saw a bit more, maybe then I'll have some actual theories.

[mak-be-ghouled]

hiee! may i request headcanons for rain and a quiet ghoul reader rocking out in an empty stage? hes so sillyyy <33

hi there!! i’m sorry i don’t really write x reader or self inserts so i turned this into rain and delta rocking out, i hope that’s ok <3

Delta/Rain ghoul bonding (with some mentioned dew)

(they/them delta, he/him rain)

the sun is beaming through the stained glass windows of the ministry, deceptively warm as Rain walks down the empty hall. the pools of light scattered on the floor would make for a great midafternoon cuddle pile he thinks, smiling to himself as he imagines him and Dew curled around each other like they have so many times before.

speaking of Dew, as Rain gets closer to the practice rooms he thinks he hears the baseline of Con Clavi Con Dio.

Rain’s typically the only ghoul to play bass anymore, but every once in a while Dew will pick it back up just too mess around. Rain cherishes every moment he gets to see of Dew connecting with his past element, it’s a bit like looking into another life. Dew’s other life. before the element transition. before he was there. water has still remained apart of him in some ways, thanks to Rain.

so when Rain slowly peaks into the practice room, cringing at the creaking door, he expects to see Dew, leaning against one of the steel deck stages, hair curtaining his pretty face, eyes closed and caught up in the music.

what he doesn’t expect to see is a ghoul nearly twice his height, working the practice stage as if they were at a ritual.

Rain is entranced

he’s heard about Delta’s playing, has seen videos from previous rituals, but nothing compares to the sight in front of him now.

Delta hardly played anymore, for a while after the element transition they weren’t allowed to even look at a bass, the ministry too focused on making sure they had a rhythm guitarist to finish off the tour without Omega.

and after,

well playing wasn’t all that easy anymore. a completely new element forced into their body, mingling with the water but never quite settling. bass reminded them of what they’d lost, what had been taken from them. not only their hold on their element, but touring too, their purpose.

but every now and then, their old dusty bass shoved in the back of the practice room calls to them, just as strong as the moon used to call them before the transition.

and so they crept into the bands practice room. sure there were other private rooms, but this one just, felt right. they sifted through the storage closet until they finally found their old bass. it had substantially less dust on it than the last time they had seen it

odd.

Rain has fully crept into the practice room now, praying to whoever will listen that Delta doesn’t see him, or at least won’t stop if they do see him.

he recognizes the bass in their hands as the same one he’d found in the storage closet soon after his summoning. the same bass he assumed to have been Delta’s. the same bass he cleaned and tuned regularly despite knowing the other ghoul never used it. or at least to his knowledge.

he just couldn’t let it sit there, collecting dusk in that dingy old closet. every time he took it out, it was for no longer than necessary, in the dead of night when Rain was sure no one would come sneaking around. he just wanted to make sure it remained in as good condition as possible, a constant for himself, for Delta, just in case.

“my eyes are up here, idiot”

Delta jokes, only now that the song has ended, looking down at Rain with a fond smile

Rain’s eyes snap to Delta’s face now, realizing just how long he’d been staring. how long he’d been transfixed.

“right uh - sorry - didn’t mean to - uh”

Rain says meekly, rubbing the back of his neck, trying his best not to let the embarrassment get the best of him

“aw there’s no need to apologize, ‘m not complaining”

Delta chuckles

Rain gives them a bit of a forced smile back, thinking back to just the day before when he had cleaned up and tuned Delta’s bass.

just in case.

“hey no, really, i mean it. i don’t mind an audience, could even say i miss it”

Delta adds quickly, keenly aware of the uncertainly in Rain’s face

they really do enjoy Rain’s company, even if the two aren’t alone often.

“wanna join? haven’t played with anyone in…”

the end of Delta’s sentence trails off as they begin to think about just how long it’s been

“yeah! i’d love to”

Rain responds, maybe a bit too eagerly considering Delta’s previous thought, but before he can think about that too much Delta is taking off their bass and putting the strap around Rain

“oh uh-i can get mine-if you want. i don’t wanna take yours from you”

Rain cringes at the implications deep within that

Delta smiles lightly, turning their back to Rain

“no it’s ok, i’ll play on yours - if that’s ok - i mean - i can also grab dew’s old one - it should be here somewhere”

“no!”

Rain butts in, startling himself and making Delta laugh with the suddenness

“you can use mine, i don’t mind”

“thanks Raincloud”

Delta smiles, turning around just in time to watch Rain’s cheeks flush

the two ghouls fall easily into a comfortable silence, the music being be only thing breaking it. it feel so, right.

it’s like they’ve played together forever. like this was meant to be in some weird way.

they sit next to one another for a while after their impromptu jam shesh and go to put each others basses away.

however, this time, instead of leaving Delta’s bass in the back of the closet like he’d done so many times before, Rain comes back out with the stand and bass still in hand.

Delta looks at him curiously

Rain simply smiles their way and puts the stand next to his own bass, putting Delta’s down with more care than Delta’s ever seen from a ghoul.

now it’s their turn to blush like a fool.

they sit next to each other for a while more, simply enjoying the company of one another

eventually though, Delta reaches over and puts their hand on top of Rain’s

“thank you - for taking care of her…when i couldn’t”

Delta says squeezing his hand.

Rains heart drops, of course he knew Delta would realize someone had been messing with their bass sooner or later, or maybe even already had, but he didn’t think they’d know who

“how did you-“

Rain asks, voice just barely above a whisper.

Delta chuckles and Rain feels like he could melt at the radiance of their smile

“just a hunch”

Delta winks at him.

and if Rain thought he was going to melt before, he is surely a puddle on the ground now.

[farter-imperator]

I'm in an angst mood tonight, sorry in advance.

Copia's top surgery was constantly blocked by the ministry when he was a bishop and a cardinal. They kept saying that it wasn't a necessary surgery, that he could pay for it out of his own pocket if he really wanted it.

Once he became Papa, he booked his top surgery for a week after his succession. He used the church's funds to pay for it.

However, when he woke from surgery, only Special Ghoul was by his bed. Sister Imperator wasn't there, none of the Papas weee there. Just this one ghoul. They gave him an envelope, which they then sliced open with the tip of their claw when they saw Copia struggling with it.

Congratulations on the surgery. You leave for your first tour in a week.

Copia had just blanched at the letter. His first tour wasn't due to start for two months. Sister Imperator had moved the dates up.

Copia still had his drains in when he left for tour. He was meant to be in bed, resting. Instead he was stuck on a bus with seven other ghouls.

He tried to rest when he could. There wasn't a lot of resting when on the road.

Performing was hell.

He couldn't breathe properly with his drains in. He knew he wasn't performing at his best, taking the highest amount of painkillers he could safely take every night. He kept to one area of the stage, tried to not walk around too much. He wore robes, rather than his suits. Robes hid his drains better and didn't put as much pressure on his chest.

He had the drains removed in a clinic while on the road. If he had kept them in and longer, they would've became infected.

The ghouls tried to help him as much as they could. They wouldn't let him lift anything heavy, or lift bags into the overhead storage. They brought him his painkillers, helped him change his bandages.

One night, Copia ripped a few his stitches during Con Clavi Con Dio, while his arms were raised and he was swinging the thurible.

He bled through his robe.

Everyone thought it was part of the show.

It was not.

[coffeeghoulie]

Mushy May Day 22: Helping at Band Practice

Pairing: The beginnings of Dew/Rain

Rating: Teen

Words: 798

Contains: Transformation angst (dew i’m so sorry), Dew’s very bitter about what happened to him and it’s still fresh

***

Dew hasn’t spoken to his replacement yet. It’s been a month since he finally got the all clear from the infirmary to go back to practice. He hasn’t been able to look at himself in a mirror yet. He’s lucky he’s alive, the clergy have told him. The ritual was arduous and painful, and Dew almost found himself wishing that he took the other option, especially when Mountain and Aether, well-meaning and trying to keep him caught up with their new packmates, kept gushing about Rain.

He’d pushed Aether and Mountain away after too many conversations turning towards his replacement. “They lit me on fucking fire. They made the two of you fucking watch, you know what they did. He’s the reason we’re even sitting here in the medical wing. Don’t fucking bring him up again or get the fuck out.”

Dew’s first practice with the Cardinale went exactly the way he thought it was going to. A bunch of fresh summons, still stumbling over their instruments, still learning the songs, getting used to the new masks and uniforms, the Cardinal included. Tour started soon, and it was crunch time.

Dew kept wincing as Rain stumbled his way through the beginning of Con Clavi Con Dio, hitting every wrong note. The other ghouls around him glanced from him to Rain and back again. The scent of acrid smoke filled Dew’s nostrils, and he realized he was fuming, the smoke caught by the mask. 

He stomped his foot, setting his new guitar down on its stand and marching up to the new bassist. Dew grabbed his wrist, pulling him off of the rehearsal stage and dragging him to a smaller practice room.

There was a chorus of Oooohs lead by the new multi ghoul, who clearly had the maturity level of a kit, but they shut up as Dew flipped them off with his other hand. 

He slammed the practice room door shut behind them, flipping the lock. “Do you even know what you’re doing?”

The replacement, even with his face mostly covered, looked frightened, eyes wide and clutching the white bass. 

“Give me that,” Dew said, reaching a hand out. “Let me show you what that’s supposed to sound like. “

The water ghoul was still hesitant, hanging onto the neck of the bass. 

“I know what I’m doing,” Dew sighed. “I’m not going to fucking break it.”

He took the strap of the bass off over his head, handing it to Dew, eyes moving across his face like he was trying to find the answer to some question only he knew. 

Dew slung it on over his head, ignoring the thought of “This used to feel right” that made something in his chest ache. He adjusted the strap, seeing as the new ghoul was much taller than him, and began to play. 

Dew had been playing this riff for years. It would have taken far more than the asshole clergy setting him on fucking fire to make him forget how to play. 

He played Con Clavi’s opening, trying to lose himself in the music the way he used to be able to, but it feels wrong. He was still able to play it flawlessly, though, and he mentally patted himself on the back for it.

“That was amazing, how do you know how to play that?” he asked, taking the bass back from Dew.

Dew huffed. He reached up, hooking his fingers under the hem of his balaclava, pulling it down past his throat. He shut his eyes as he heard the water ghoul gasp as he took in the cauterized scars along his throat where his gills once were.

“Oh, what did they do to you?” Rain asked. “Shit, sorry, that’s probably way too far. My bad.”

“Why do you think you’re here Up Top?” Dew snapped, pulling the balaclava back over his mouth. “These humans, as much as they like to claim otherwise, don’t like messing with the Pit unless they don’t have to. Fire ghouls are… difficult to summon. Water ghouls, not so much. Why put in all of the work to find a fire ghoul who isn’t temperamental and itching to burn down your abbey when you can just make one?”

“Oh,” Rain whispered, eyes flashing behind the chrome mask. Dew was tired, he didn't bother trying to read the expression.

“I’m sorry,” Dew said, surprised he was actually apologizing. “Can we start over? I’ve been nothing but rude to you since you came.”

“Of course,” Rain smiled. He stuck his hand out. “I’m Rain. Nice to meet you.”

Dew took a breath before taking Rain’s hand and shaking it. “Nice to meet you, Rain. I’m Dew.”

“Can you teach me how to play?”

“You’ve got a long way to go before we head out, but sure thing.”

[enbysanavi]

The Ghoulettes with a TransMasc!Reader who has trouble breathing during a ritual

Cirrus

She first noticed you leaning against her little stage while still playing your guitar.

Of course she had to keep up appearances since it was a full house but that didn’t mean she wasn’t any less worried.

You ended up having to run off just after Year Zero which was fortunate since you weren’t really needed for guitar after it.

Once the show had come to an end she rushed off backstage and found you in your dressing room with your shirt unbuttoned and your binder tossed onto the table.

Seeing the binder was all she needed to understand why you had left in such a hurry.

Cirrus was against you wearing a binder during a show and usually you would wear tape instead but you ran out and had to resort to a binder instead.

She noticed your ragged breathing and walked over with concern in her eyes.

Gently guiding you over to sit down on one of the bean bags was the first step in making sure you wouldn’t pass out.

You hadn’t even spoken to her yet which just caused her to worry more.

She made sure not to touch you around your ribs as she squeezed onto the bean bag and laid beside you, allowing you to curl into her.

After you had regained your strength to breath properly again she left you to pack up for the night and want to buy you more rolls and make sure her supplies were stocked up so she would never have to see you in such pain again.

Cumulus

Call it instinct but when she noticed one small stumble during Con Clavi Con Dio she was worried.

Normally you got really into Con Clavi Con Dio but after the first verse you had stopped jumping around and stomping your foot to the music like how Sodo would.

She became even more concerned when you didn’t return after swapping with Swiss after Miasma.

She begrudgingly kept playing and singing because the show must go on.

Cumulus stayed for the bows but not much after that and headed straight to your room where she knew you would be.

When she heard your short gasps for air she knew what had happened.

Opening the door and finding you hunched over on the floor wasn’t what she had expected.

Instantly she was at your side, gently resting her hand on your back and moving your face to look at hers.

She panicked internally when she noticed you struggling to breath.

Grabbing a pair of scissors from your desk and cutting the shirt and binder off was the best course of action.

You could replace both but healing a potential broken rib would take weeks.

Once the binder was cut away you could finally breath easier but that pain in your chest was still there.

Cumulus slowly helped you lay down on the floor with a pillow propping up your head and one of her hands gently resting on your shoulder while the other ran through your hair soothingly.

You are reminded of all the times that the Ghouls have all been forced to go through first-aid training just in case one of the humans in the ministry got hurt or a ghoul got hurt.

You always dreaded those days but were thankful that someone had paid attention.

Aurora

She just refused to let you play in your binder. Telling you a day before the ritual that if you couldn’t find tape instead then you wouldn’t be playing.

You were annoyed at this because you knew your limits when it came to binding and you knew how to take it easy but she wouldn’t budge.

Aurora took her spot as the most caring in the band very seriously and that meant preventing a broken rib or something worse from happening.

It took you until the day of the ritual to find tape and prove to Aurora that you could do this ritual.

She happily agreed when you proved to her that you had found a safer option.

[birdhaslostit]

Okay,

top Ghost songs in no particular order: a review

New fan here, and I’m trying to learn everything i can about these guys. I first heard them on TikTok, but it actually wasn’t Mary On a Cross. Most people seem to have found them through that. (There’s no shame in it though, that song kicks ass.) I don’t remember the first Ghost song I ever heard, but I do remember hearing about them every once in a while.

Cirice (Ceremony and Devotion ver.)

If it isn't the live version, I don't want it. You can feel the electricity of the crowd. The chanting and yelling, you can practically see people reaching out, clawing to touch the stage. The guitars are especially ominous and twangy in this version. Papa's little additions of "can you?" and "I wanna know" make me want to scream back like I'm actually there. The way he ends it on a HOWL of a note, with the added reverb of it being played live? I've left my body, I am no longer alive. My ex-catholic ass has never felt closer to god than I have while listening to the lyrics "can't you see that you're lost? Can't you see that you're lost without me?" Also, Terzo specifically playing this live? I've seen the videos. Absolute filth. Incredible. I would shit my pants if I saw it in person. Can I hear the rumble that's calling? Absolutely I can. It's shaking my floorboards from all the bass.

Jesus He Knows Me

I just need to start by saying that this music video is the filthiest thing I've ever seen. And. I. Love. It. I didn't even catch the Defroque pun until a few days later. This song and this video absolutely gut scummy televangelists, and it's the greatest thing I've seen in years. It was one of the first Ghost music videos I ever watched, if not the first. All over TikTok, I saw video after video of people going "don't watch this, it's terrible, it's insane, it's so disrespectful, it's so gross." And of course, I had to see it after seeing so many people tell me how gnarly it was. I knew I'd definitely seen worse, and I had to see it for myself. It was, in the biblical sense, Eve grasping for the fruit of the tree. I logged into Youtube, and my jaw was on the ground. I could talk about it for days. It ran through my head on loop afterwards, and just would not go away. I was absolutely shocked and amazed at the balls on these people to put it all out in the open like that, and to not only get away with it, but to make a poignant statement while doing it. They didn't just do this for the shock value, they did it because it's the truth. This thing fucking rules.

Rats

Oh my god, it's spooky Def Leppard! I love spooky Def Leppard! That guitar solo! Just listen to those layered harmonies on each "oh woah-oh." The music video? Exceptional in every way. It's like I'm watching an 80s MTV spectacle. The choreography is burned into my brain like I've stared at the sun for too long. It is extravagant in every way, and I love it.

Con Clavi Con Dio (Ceremony and Devotion ver.)

Again, if it isn't the live version, I don't want it. It hits infinitely different than it does in the studio version. Hearing the reverb of the vocals bouncing around the stadium, and everyone staying silent to listen to it like it's gospel... Outrageous. Hearing that first "Lucifer?" The Italian sections? I'm getting flashbacks of going to church, but instead I'm actually having a good time.

He Is

Now, as an ex-catholic, I wasn't really raised on the typical evangelical/protestant 'youth group Jesus rock.' My church was all old people, so it was mostly the traditional stuff. But I definitely have heard the genre enough to know it when I hear it, and this is it— but not shitty, and not about Jesus. If I heard this at a church during a vulnerable time in my life as a teen, I would've totally been on board. And the inherent layers to that fact cannot be understated. It's a perfect critique/parody, no notes.

Life Eternal

This hits me like a half-and-half blend between Cirice and He Is. It's got that yearning, reaching, almost loving feel to it that Cirice has, but the sugar-sweet churchy vibe of He Is that makes you forget the fact that it's being sung by the devil's favorite band. It also gives me almost Journey vibes? Like, listen to Open Arms, and then listen to this. I can't be the only one.

I Believe

I genuinely did not know this was a cover until like 5 minutes ago. This shit is so ethereal. Like, almost Enya-esque? There are so many layers to it, so many different parts you could focus on, so many different sounds blending into one gorgeous whole. How is it so heavenly even though it's being sung by a satanic pope? I'm levitating. I'm contemplating my existence in this universe. The original is not bad by any means, but I love this version 100 times more. This isn't just a cover, honestly. The song has been totally transformed. The atmospheres of the two versions are so vastly different that calling it 'just a cover' is doing it a disservice.

Darkness At The Heart Of My Love

The little guitar bit at the very start really surprised me, honestly. At first it sounded like... Renaissance fair-y? And then the vocals started. Ghost really keeps you on your toes. This is truly a pseudo-love ballad I can get into. If I was driving a car while this was playing, I would accidentally start speeding during the chorus. Again, strong 80s rock band vibes with this one. I keep thinking Keep on Loving You by REO Speedwagon. And the whispered parts that I had to google because I couldn't understand what they were saying? Once I found out, I was sold.

Square Hammer (Ceremony and Devotion ver.)

The reversed vocals at the start? That Scooby Doo-ass intro with the 60s-style organ? Again, I'm telling you, spooky Def Leppard! I love it! The live version of this is just incomparable to the studio version. The booming power behind this recording is nuts. It's like thunder and lightning, I've got chills. Am I on the square? Am I on the level? Fuck yes I am. Am I ready to swear right here, right now, before the devil? Give me a knife and point me to the nearest sacrificial goat.

Dance Macabre

Spooky stripper music. It's got a late 60s/early 70s vibe to it in a way that I can't fully explain. It might be the organ, it might be the vocal style, it might be the hook. The hook for sure sounds like something a boy band might pull, in a good way. Nothing occult enough to make the parents throw away all of their records, but enough to make your religious dad turn his nose up at it.

Kiss the Go-Goat

Jim Morrison, is that you? "You've been daddied by all the dudes that wanna dad / And all those dads never gave you the things you should've had" is the most insane line in this whole thing. He had no right. That's like a quadruple entendre. The balls on this man. And you already know I love a good blasphemous Latin section. With the smooches at the end? Be still, my heart. I just know people in 1969 were screaming and throwing panties onstage. It's just a fact.

Bonus list of songs I would shit my pants if they covered:

Personal Jesus by Depeche Mode

Specifically the Holier Than Thou Approach with Francois Kevorkian. Like what the fuck else would they do? It's like asking a fish to breathe water. It would be stupid if they didn't. Do it, cowards.

The Hairstyle of the Devil by Momus

I love New Wave. I just do. And I think that Ghost could really transform it into something spectacular in their own style. The lyrics are fascinating: "And when you meet me finally your horns will lock with mine / For the beast rules with rivalry / As the clock rules with time / Pleased to meet you, hope you've guessed my name." They could do so much with this.

Bloody Mary by Lady Gaga

A pretty obvious pick, I know, but you have to admit it would be incredible.

Talking In Your Sleep by The Romantics

They could make this so slutty and so spooky, y'all. Listen to the lyrics and tell me they wouldn't.

Pet Sematary by The Ramones

Again, on-brand.

The Stroke by Billy Squier

I mean, come on.

Fortune and Fame by Naked Eyes

I can't tell you why, but in my mind, it really fits.

[lanottedellastrega]

Man, I haven't done a transcript in a while...

Editor's Letter: GHOULS ON FILM

Tobias Forge has always been wildly ambitious. After throwing everything at Ghost in his last real shot as a professional musician, he established the band as an occult-rock force you couldn't look away from, all shady Nameless Ghouls and papal vestments. As the years rolled by, Tobias might have unmasked, but the Ghost legend has only grown. Back at their early gigs in 2010, few could have predicted they'd have their own actual movie in 2024. Like everything Ghost do, Rite Here Rite Now has been kept tightly under wraps, but Tobias was kind enough to grant our Paul Brannigan an audience, and reveal the behind-the-scenes machinations that led to such a triumph of creativity. And if you're reading this letter on June 20, the day the magazine goes on sale and the day the film premieres, you're probably about to experience his vision for yourself. "This is not a tale about death, but one of life…" intones the voicover on Rite Here Rite Now's spooktacular, schlock'n'roll trailer. While we can't say for certain if Papa IV will survive in his current form, we certainly hope Ghost are around to entertain us for a long time to come.

Stay metal, Eleanor Goodman, Editor

RITES. CAMERA. ACTION! From dancing ghouls to…dead Papas? Tobias forge takex us behind the scenes of Rite Here Rite Now, Ghost's new movie spectacular. Words: Paul Brannigan - Lives: Ryan Chang - Portraaits: Travis Shinn

[Accompanying photo: two-page spread of the Forum Ritual, taken during Con Clavi Con Dio, with Papa downstage center holding the thurible. Caption: "Everything Ghost do is BIG. We expect no less from the film"]

Last year, in case you didn't notice, those "hands that threaten doom" which Iron Maiden's Bruce Dickinson once sang about, inched 10 seconds closer to midnight. The Science and Security Board of the Bulletin of the Atomic Scientists, the people who created the Doomsday Clock back in 1947 to gauge how close humanity is to destroying the world, reset the minute hand for the 25th time since its creation, moving it closer to the hour than it has ever been. So the prospect of imminent global catastrophe is now ever more pronounced, which, to be honest, is something of a bummer.

"We are approaching the end of an era. So let's have a good time." It was with these equally doom-laden words that Papa Emeritus IV, Ghost's puckish frontman, welcomed the faithful to the Kia Forum in Los Angeles on September 11 last year, for the first of two 'rituals' bringing the Re-Imperatour USA 2023 tour to a close. For those in attendance, the weight of those words hung heavily in the air.

In February last year, news that a second night at the 17,500-capacity venue had been added to the end of the Swedish band's tour schedule, after the first show sold out, was delivered in Chapter 16 of the occult rock collective's web series. The episode, titled Tax Season, was accompanied by a message from "The Clergy" stating, "We wish to inform you that in this world, nothing is certain except death and taxes."

The clip itself featured none-too-subtle hints that Papa Emeritus IV may not be long for this world; at one point, while he's playing a retro racing video game, he's distracted by the sight of a glass coffin being wheeled past his door, and when his attention returns to his TV screen, the words 'Game Over!!!!!!' appear. In Ghost world, where every symbol is scrutinised to the nth degree by the faithful, this was interpreted as a warning that the writing was on the wall for this Papa in the City of Angels. And when it was revealed that the group's two-night stand at the Forum was to be filmed for a future film release, with all phones to be confiscated from patrons upon entry, we feared the worst.

Hammer duly dispatched Associate Editor Dave Everley to Los Angeles to bear witness to what promised to be the gravest chapter yet in Ghost's evolution. At the conclusion of the second night at the Forum, however, Papa IV - "channelling the ghosts of Freddie Mercury and vintage Willy Wonka", Dave noted - was still standing, indeed dancing…but there was a lingering suspicion that there was more to be revealed.

Then, on May 1 this year, came a new message: the announcement that Rite Here Rite Now, Ghost's debut feature film, chronicling the events in Los Angeles, would be screened in cinemas worldwide on June 20 and 22. And those studying the minutiae of the film poster observed that the letter "o" in the final word of the title had been substituted for an analogue clock, its hands positioned at - and you might be ahead of us here - two minutes to midnight. Well, well, well…

"The Doomsday Clock is not an actual clock - it's more of a measuring tool for us to understand how near we are to fucking things up. But it's not like a timer on a bomb, and that means that we can still change things around. And this film is a little bit about that, about turning around and changing your ways, even if it's just your attitude towards things."

The real world time is 6:30pm (BST) on May 9, and an email has just informed us that 'Mary Goore' has joined our Zoom call from Stockholm. Those familiar with Ghost's pre-history will be aware that this was Tobias Forge's stage name in both his death metal band Repugnant and his glam metal outfit Crashdiet, and though he chooses today to keep his camera off, the voice on the call is unmistakably that of Ghost's 43-year-old leader. The trailer for Rite Here Rite Now premiered exactly four and a half hours ago, and as far as Tobias can ascertain, it's been "well met" so far the only "concerns" he as noticed to date bein raised by fans worried that the film has not yet been booked into picture houses in their homelands.

"The film is being distributed in many countries, but not all," he explains, "so I understand that there were some voices that felt like we'd overlooked this or that country. It's like when you announce a tour, and immediately get 'Why aren't you coming to… [insert country name]?' That wasn't our decision, I can't tell you why, it's just that some countries didn't want the film, or whatever."

Officially, the first seeds for Rite Here Rite Now were planted in Tobias's mind "over a decade" ago.

"When Ghost got signed to Loma Vista, Tom Whalley [owner and CEO] asked what the story of the band was," he explained in the press release announcing the film. "He felt telling a story was vital in order to get new fans engaged. I said that because we were a new 'baby' band and, more importantly, we were an anonymous baby band, there wasn't really a compelling story to tell. Not yet anyway. But I told him that if he wanted a story, I could come up with one. This film is the fruit of that conversation."

Those who've follwed the band from their earliest days, however, will know that, from the outset, Ghost emerged accompanied by a sense of theatre. Back in 2012, when I spoke to Swedish journalist Richard Lagergren, formerly the guitarist in the band Portrait, and the first 'outsider' to be informed of the existence of Ghost, he used the words "very cinematic, very surreal and very intense" to describe his first encounter with the group. He revealed that he was at his home one Sunday afternoon in October 2010, when he received a phone call telling him that a local band wished to see him. Within an hour, a car pulled up outside his home, and he was blindfolded, driven into the countryside and led into a disused warehouse, where, once his blindfold was removed, he found himself face-to-face with Papa Emeritus and five Nameless Ghouls, and was informed that he had been selected to begin disseminating word of Ghost's Satanic ministry to the world. This was very much not how bands were expected to conduct their business in 2010, and it telegraphed, from day one, Tobias's (still present) desire to keep Ghost out of step with standard, traditional music industry conventions.

[Accompanying photo: Portrait of Papa IV taken in his costume from the start of the show - gold Huntsman jacket, black pirate shirt, black ascot with devil scarf ring, distressed black pants. He is staring at the camera, his arms crossed and his hands at shoulder height, making the sign of the horns. Caption: "What delights are up Tobias's ornate sleeves this time?"]

"From the start, we were cutting against the grain," he reflects. "If you think back to that time, it was the beginning of when the music industry demanded a sort of hyper-frantic online presence from bands, and every band was updating Facebook as soon as they did anything, sending out private messages, like, 'Hey, everyone, don't forget to buy tickets!' I said immediately to my label, 'I don't wanna do that, I fucking hate that shit, and I don't wanna be part of that…and we're a fucking anonymous band.'

"So it was an issue, and we had to steer around a lot of those things, while figuring out, 'How do we communicate with the world what we want to communicate?' We had to figure out ways to sort of cable out a story to the world, a story that we didn't really have at that time, or a story that I didn't want to tell. Because what was that story going to be? My story? No, fuck that. So I said 'I'm gonna come up with a story, and it might unfold in the form of short little online episodes.' And Tom Whalley was like 'OK, I'm intrigued. What do you want to do?'

"So we started doing these episodes about The Ministry, with our little commercial messages attached, and it turned out fun. But obviously it became very complicated: there's a reason why bands just turn on their phones and are like, 'We're coming to Brazil!' It's so much easier. Whereas everything that we've ever done has always been way more complicated. But lots of fun, too. And so, via those web episodes, the story has really taken shape. The idea of making a film has been in my head for years, and I've always been adamant about the web episodes not being too detailed, because you don't want to paint yourself into a corner, so there's been a lot of loose threads. But I figured that I could take these loose threads, tie them together in some sort of comprehensible form, and that could be the film. And that's why we're talking today, finally!"

If you think that today Tobias Forge is going to outline exactly what happens onscreen in Rite Here Rite Now, you really haven't been paying attention to how Ghost operate. For as much as Tobias loves theatre and showmanship, he also treasures and truly values the mystique around his band. And that has its roots in the way he himself discovered his favourite bands as a teenager. For as much as he loved Kiss, Black Sabbath, Iron Maiden, the Sex Pistols and Venom, the young Tobias Forge was equally immersed in an underground extreme metal community where anonymity was prized above adulation.

"A lot of the bands that I grew up listening to weren't very famous at all," he recalls. "Some of them didn't ever play live, some 'bands' were actually one guy in his bedroom, and you knew very little about anyone. And when these bands did communicate with the world, it was through fanzines, and very adolescent interviews where they gave outrageous, very provocative answers. That helped cement my magnetism towards maintaining mystique, and back in 2010, I definitely thought that there was a way where Ghost could achieve some sort of success whilst 100% maintaining a mystique. And over the years, I've learned that was hard…but then I never thought we'd be as successful as we are.

"The best way to be anonymous in a band is by not forming a band. Don't do it! It's counterintuitive to remain anonymous if you want to be in a big professional band, and it's counterintuitive to sign with a major label who want to break your band. I've always been under the impression that in order to become a representative of the night, you have to be supernatural, but now it's time to let the world in on the story so far, to some extent."

[Accompanying image: Papa IV on stage during Year Zero, microphone in his left hand, his right hand counting two. Caption: "Is Papa IV on borrowed time?"]

With Rite Here Rite Now, Tobias admits that he's in "virgin territory". But here's what we're allowed to know. The film takes place over the course of one evening, with a narrative centered around a gig in Los Angeles, but with flashbacks referencing storylines in the Ghost 'webisodes', which began on YouTube in March 2018. For metal fans, the concept of a feature film blending a live show with a dramatic narrative will likely call to mind Metallica's bold and largely incomprehensible 2013 film Through The Never, a commercial disaster for the band, with James Hetfield subsequently admitting that it "disappeared" and describing the entire experience as "bittersweet". Tobias insists that, actually, there are no overlaps in what he set out to do with Ghost's film - "that film was never a guiding light" are his exact words - and he cites two alternate films as much more instructive in terms of his ambitions.

"As we were pitching the film, the two films that I mentioned a lot in orer for people to try to comprehend artistically what I'm trying to do were [The Rolling Stones' 1983 concert film] Let's Spend The Night Together mixed with [The Sex Pistols' 1980 'mockumentary'] The Great Rock'n'Roll Swindle. There is a sense of an origin story, but it's very much a story that takes place during an evening. So you sort of step right into what is happening right there and right then, and maybe the main character's inability, or unwillingness, to be there.

"One issue, or one challenge, that we faced was making a film that was comprehensible to anyone who had no clue about what Ghost is," he continues. "We have a very, very passionate fanbase, who, to a large degree at least, are very aware of everything that goes on with Ghost. The easy part, conceptually, was to make a film that would please them, because they know the story already, they know the context that we are now extending with this film, because it's basically picking up where the last episodes ended. But we wanted it to be that someone who doesn't know shit about the story gets brought up to speed pretty quickly. But this is where my ability to be objective ends, because I'm wondering, 'Do people understand what I'm saying here? Do people get that?'

"Obviously, as with everyone else, I'm a Star Wars fan, and that worked pretty well in the sense where you just crash land right into the story. That works where the message of the film is quite simple, and I think that the message that we're trying to convey with this film is to be right here right now, and not anywhere else. That's what I'm hoping everyone will understand."

[Accompanying photo: Papa and the ghouls backstage before the show. Caption: "What role will the Ghouls play in Rite Here Rite Now?"]

This sounds quite straightforward on paper. But, as Tobias was to quickly learn, the film business is not straightforward, not when films cost 'x million' dollars to make, and someone has to stump up those 'x million' dollars to get it from scripts and storyboards to the screen. Making a film, Tobias says with a very audible sigh, is so much more complicated than making a record, not least because the trust that an artist accumulates working in the music business doesn't necessarily translate to being trusted with a multi-million dollar film budget.

"The film had to go through discussions with finance people who were as curious about the content as you are," he says, diplomatically. "And let's just say that I sometimes struggled to convey what we were just talking about, and not everyone understood it. I'd be saying, 'Look, this is not really, you know, just us live from the Forum.' And they were like, 'Well, could you scrap the live show and just do a film about something else?' And I'd say, 'Well, that kinda defeats the purpose of what I'm trying to sell to you.' So that was a little bit weird."

The end result of such conversations was that no financial backer came onboard for the film, and Ghost and their management ended up funding the whole process - which, he says, ultimately simplified things. But the uncertainty meant that acclaimed Swedish filmmaker Jonas Akerlund - famously once a member of Bathory, and a creative visionary who's made music videos for the likes of Madonna, The Prodigy, U2 and more, as well as directing films such as Lords of Chaos and Spun - decided to step away from potentially directing the film to instead take on a co-producer role, and to advise Tobias as a friend.

In his place, as director, came American filmmaker Alex Ross Perry. He first saw Ghost opening up for Iron Maiden in New York in July 2017, at the conclusion of Maiden's North American tour for The Book of Souls, and subsequently directed the band's own 'mockumentary' Metal Myths, as well as the fabulously provocative promo video for the band's cover of Genesis's 1992 single, Jesus He Knows Me.

"He was obviously the right choice," says Tobias, "and a no-brainer to come aboard, because not only is he a very, very nice guy, but he also totally understands the band.

"Jonas was very involved with all the legwork beforehand, but when he stepped down as the director, and became a producer, it actually made things a little bit easier, because he became less stressed about it; all of a sudden he became calm, and just became my friend instead, pushing everything along. At no point did I feel like I'd bitten off more than I could chew, but the whole thing was definitely a huge learning experience.

"A lot of film studios sometimes struggle to comprehend something that isn't mainstream," he adds. "Like, it's not uncommon that you might want to make a film about, say, a historical event, and they would be, like, 'Hmmm, it's really depressing that the boat sinks in the end. Can it not do that?' And you're like, 'Well, no, the story is about these two lovers that meet on the sinking boat, and yeah, he dies in the end.' 'But that's so depressing! Can we make a different ending?' 'Er, No.' 'Well, we don't want to pay for that.' That's the sort of shit you're up against."

For Tobias, Rite Here Rite Now is clearly the biggest project that he's ever taken on, but Ghost fans shouldn't worry that they're about to lose their hero to Hollywood. At one point today, he mentions his work on the next Ghost album, specifically saying that he's "synchronising" his work on the film with the new record, so we may get an announcement on that sooner rather than later.

There remains one last matter to discuss. In each chapter of Ghost's journey to date, there has been death and renewal, with a new Papa coming along at the end of each cycle to replace the outgoing bandleader. And yet Papa IV was not killed off in Los Angeles. So, Tobias, is he going to transition into the next cycle?

A drawn out "Errrrrrrr…" comes through the speakers before an answer arrives.

"He will be with us, yeah. For a lifetime, if you will. As everyone is."

Okaaaaaay. But will Papa V also be appearing soon?

"I hope so."

At this point, the band's PR steps in to advise that we have one last question. So we ask if Rite Here Rite Now is close to the vision Tobias had in his head when he first embarked upon this ambitious undertaking.

"It's never, you know, 100%," he answers, "but pretty damn close. A lot of things that I think scared people in meetings a year ago, are things that I know that we pulled off. As an artist, people want you to dream big, but I always try to come up with things that are actually doable.

"Everything with Ghost is difficult and expensive, but the records are getting closer to what I imagine, and this film turned out pretty close to what I envisioned. And when I see the film, even I look at the show and go, 'That's pretty entertaining, that's pretty cool.' This is a film that you have not seen before. And you can all tell me what you thought when you see me next, OK?"

SIDEBAR ARTICLE 1: "I'M IN AWE OF TOBIAS!" Rite Here Rite Now director Alex Ross Perry explains how he helped Ghost's mastermind realise his vision.

[Accompanying photo: Another portrait of Papa IV in the gold jacket. His left hand is on his hip, his right gestures across his body, as though he is pointing to the sidebar. Caption: "Tobias has one helluva vision. Getting execs to understand it ain't easy!"]

[Inset photo: Alex Ross Perry looking off-camera to the right, as though he is staring at the photo of Papa next to him.]

Pennsylvania-born filmmaker Alex Ross Perry has a CV that includes helming music videos for the likes of Kim Gordon, Pavement, Sleigh Bells and Bully; writing, producing and directing acclaimed grunge/punk movie Her Smell; and creating Ghost's brilliant 2022 mockumentary, Metal Myths. However, he explains, working with Tobias Forge on Rite Here Rite Now was an experience like no other.

How did you and Tobias first come into one another's orbit? "I first saw Ghost opening up for Iron Maiden in New York, at the Barclays Center, seven years ago, and then I went on YouTube and had a lot of fun diving into their music videos. I'd done work for [Ghost's US record label] Loma Vista, and so I said to them, 'Nothing I've done is in the world of this band, but I'm a big fan, so if you ever need anything in the world of Ghost, my hand is raised.' And a couple of months later, I was asked if I wanted to create an official/unofficial Ghost mockumentary, streamlining the narrative woven into the band's story, and that became Metal Myths, which launched on April Fool's Day 2022."

How was that received? "I know that Tobias really liked what we did with that, and thought it was an amazing testament to his work and creativity. So then I was asked to curate an event at the Whisky A Go Go in Los Angeles to celebrate Ghost's Grammy nomination [for Best Metal Performance, for Call Me Little Sunshine], and we had some fun working on the Mary On The Cross [sic] 1969 era. While I was out in LA, we did the Jesus He Knows Me music video too, and I was told, 'We're doing a movie,' so I said 'Well, if you need any help, I'm here.'"

What did you make of Tobias when you first spoke to him? "I was, and am, a huge admirer of everything that he's built, so I was in awe of his creativity and the scope of his vision, and I remain so having now collaborated with him on this movie. He's one of the greats, in terms of the vision he has. He's a nerd, a repository for information and references to music history and film history, and that is incredibly rare. His vision has taken him so far in 10 years, and in 10 years' time it'll have taken him even further. My favorite band is Kiss, and Tobias might say the same, but they stumbled when they tried to branch out with [1978 TV film] Kiss Meets The Phantom Of The Park, whereas Tobias built a visual narrative into the Ghost solar system from the beginning. Working with him was constantly inspiring."

What was the most challenging part of the whole process for you? "It was just logistically very complex. It was challenging being at the Forum, shooting scenes that we were going to connect with scenes that we would be filming five months later."

How much creative input did you get to have, and how much were you able to bring your own vision to what was already mapped out? "I consider it a real collaboration between the two of us. His vision for the storytelling is crystal clear, but even though the A to Z is mapped out, there's so much room to discuss what happens from B to Y. You could just talk all night about that, and we did many times, like, 'Does this happen?' 'Is this joke funny?' 'Should this scene have no dialogue?' I took ideas that were not possible and turned them into ideas that are possible. We sat on his tourbus one month before the Forum and just talked until 4 or 5am about every story beat, every scene, every moment between the characters. It was such an amazing experience from start to finish."

SIDEBAR ARTICLE 2: "I'D SIT WATCHING FILMS ALL NIGHT, THEN HAVE A HORRENDOUS NEXT DAY IN SCHOOL!" Five flicks that fired the imagination of teenage cinephile Tobias Forge

[Accompanying photo: A third portrait of Papa IV in the gold jacket, staring directly into the camera and throwing the horns with both hands. Caption: "What the Devil will Tobias do next?"]

By his own admission, Tobias Forge is a film nerd, who watched "everything, all the time."

"I've always been very interested in cinema," he says. "As a kid, I'd watch everything that my older brother and his friends were watching, and as soon as I was old enough, I had a TV and VCR in my bedroom. I spent so much time in front of the TV playing guitar and watching films - French drama, comedy, horror, action, all kinds of films. I'd sit watching films all night, then have a horrendous next day in school! Anyone who has a record collection and video collection similar to mine will recognize lots of little references in our film."

Here are five films that regularly got slotted into the video cassette recorder in Tobias's teenage bedroom.

THE FUNHOUSE (Tobe Hooper, 1981) Tacky, violent and unpleasantly scary slasher flick set in a traveling carnival, directed by Tobe Hooper, who had produced, co-written and directed 1974's The Texas Chain Saw Massacre. A commercial failure, but one with cult appeal for fans of 80s 'video nasties'.

SCARFACE (Brian De Palma, 1983) Endlessly quotable and unrelentingly violent crime drama depicting the rise and fall of drug lord Tony Montana, played by Al Pacino. One of the most iconic gangster films ever made, referenced on countless gangsta rap records. All together now: "Say hello to my little friend!"

C.H.U.D. (Douglas Cheek, 1984) Schlocky sci-fi horror about murderous humanoids roaming the sewers of New York City. Ghost pal Dave Grohl was also a fan of the movie. His teenage band, Mission Impossible, recorded a song called C.H.U.D. with a chorus that ran: 'Chaotic Hardcore Underage Delinquents! Cannibalistic Humanoid Underground Dwellers!'

BETTY BLUE (Jean-Jacques Beineix, 1986) Impossibly intense French 'erotic psychological drama' featuring lots of philosophical musing, lots of steamy sex, and an inevitable slide into madness. A cult classic, which shifted tens of thousands of film posters to art and film studies students worldwide, it made 21-year-old Beatrice Dalle an international sex symbol.

LES AMANTS DU PONT-NEUF (Leos Carax, 1991) Another intense, wordy French drama about a doomed, obsessive love affair, staring a young Juliette Binoche as homeless artist Michele besotted with alcohol-and-pills-addicted wannabe circus performer Alex (Denis Lavant). The film went insanely over-budget and took forever to shoot; by the end, real-life lovers Binoche and Carax had split.

Copped the Ghost Metal Hammer so thought I’d share the contents for anyone who may not be able to buy it for themselves (the article and Tobias interview is Rite Here Rite Now spoiler free!)

Let me know if any of the photos are bad quality and I’ll re-take them!

[tisthenightofthewitch]

THE 20 GREATEST GHOST SONGS – RANKED - KERRANG!

From Opus Eponymous to Prequelle, we rank the greatest compositions from Ghost

Words: Sam Law

Photo: Tom Barnes 

Undoubtedly the breakout band in heavy music over the past decade, it’s been a wild ride for Swedish creeps Ghost. Melding elements of hard rock, doom, classic metal, psychedelia and outright guitar-pop – then daubing on the corpsepaint – their combination of deceptively digestible sound, occultist ethos and anti-ecumenical aesthetic has captured the imagination of music fans and sling-shotted their live ‘rituals’ into arenas on both sides of the Atlantic.

Of course, mysterious mainman Tobias Forge (aka Papa Emeritus I-IV, aka Cardinal Copia) has had his struggles. In 2013, the band was forced to temporarily rebrand as Ghost B.C. for legal reasons in the U.S. The initially intriguing, fluid anonymity of his bandmates’ Nameless Ghoul personas (even Dave Grohl apparently once donned the cowl) became a sticking point, too, as the collective sued Tobias in 2017, failing in their suit but also dispelling some of the precious mystique.

That Tobias has endured – not just surviving, but flamboyantly thriving in the heightened spotlight – feels like proof his band are here to stay. New music is eagerly anticipated in the not-so-distant future but, for now, we rank the 20 tracks on which Ghost have built their unholy empire thus far…

20. MUMMY DUST (MELIORA, 2015)

‘I was carried on a wolf’s back, to corrupt humanity / I will pummel it with opulence, with corpulence and greed!’ Arriving on a wave of staccato percussion, spiked with gnarls of riffage and flashes of synth, this pounding cut from 2015’s Meliora – named after the insubstantial detritus of years past – plays out as one of Ghost’s most compelling indictments of the avarice of mankind. Although its creeping instrumentation, growled baritone and choral climax don’t exactly show the Swedes at their most inventive, Mummy Dust has been elevated massively in the live arena, with Papa leaning into the lurching malevolence before showering the audience with ‘money’. In Ghost we trust.

19. WITCH IMAGE (PREQUELLE, 2018)

Ghost might have traversed a full spectrum from gouging metal via classic rock to shimmering guitar-pop thus far, but the further their sound has strayed into the light, the harder the lyrics have drilled down into darkness. It’s never been truer than on this underrated ditty from Prequelle. A textbook three-and-a-half-minutes built of sweet acoustic and rich electric guitars surging towards its massive chorus, you can practically taste the relish as Tobias ladles the syrup onto some of his darkest words. ‘While you sleep in earthly delight, someone’s flesh is rotting tonight / Like no other to you, what you’ve done you can not undo…’

18. CON CLAVI CON DIO (OPUS EPONYMOUS, 2010)

After the baroque organ intro of Deus Culpa, it’s the throbbing bassline of Con Clavi Con Dio that truly pulls back the sacristy drapes on Ghost’s compelling debut. Translating crudely as ‘With Nails, With God’, the title Con Clavi Con Dio is actually an attempt at clever wordplay, drawing comparisons with the nails of crucifixion and the conclave of bishops at the head of the church as Tobias sings, ‘Our conjuration sings infernal psalms and smear the smudge in bleeding palms.’ Theological musing aside, it’s the dark swirl of sound here that truly draws the listener in, with gauzy layers of guitar, synth and vocals – not to mention the devilish tritone interval – building into a towering cathedral of subversion.

17. FAITH (PREQUELLE, 2018)

No relation to the oft-covered George Michael classic, the fourth single from 2018’s Prequelle feels like a defiant statement of the band’s arena-straddling prowess twelve years in. Powered by snarling six-strings and pounding drums – custom engineered to get tens of thousands of fists pumping – it’s seething proof that this band’s heaviest sounds are still among their best. At the same time, we get a furious flash of the man behind the mask as Tobias takes aim at his ex-Nameless Ghouls with some serious lyrical barbs: ‘The Luddites shun the diabolical, a fecal trail across the land / Although it stinks, feels and looks identical / And a pack of fools can take the stand.’ Oooft.

16. PER ASPERA AD INFERNI (INFESTISSUMAM, 2013)

Riffing on the popular Latin phrase ‘Per aspera ad astra’ (‘Through hardship to the stars’), Per Aspera Ad Infini literally translates as ‘Through Hardships To Hell.’ Its churning sound diabolically matches up. Layering on riffage that calls to mind the epic doom of heroes like Candlemass, marching-beat percussion and a lyrical treatment revolving around that title chanted as a mantra, there is sinisterness throughout. Its defining quality, however, is the fragility and despair Tobias manages to summon as he begs with ecstatic fervour, ‘Oh Satan, devour us all / Hear our desperate call.’

15. SECULAR HAZE (INFESTISSUMAM, 2013)

The lead single from 2013’s sophomore LP Infestissumam immediately built on the spooky foundations laid by Opus Eponymous with broader pantomime atmospherics and – on its live premiere in Linköping, Sweden, where Papa Emeritus II was unveiled – the first branches of their expanded mythos. A carnivalesque organ sets the tone of mischievous eeriness before the pendulous musicality hits full swing with Papa inviting us in: ‘You know that the fog is here omnipresent when the disease sees no cure / You know that the fog is here omnipresent when the intents remain obscure – forevermore!’ As if their mainstream-invading intent wasn’t clear enough, its single release even came with a B-side cover of ABBA’s I’m A Marionette featuring Dave Grohl on drums!

14. SEE THE LIGHT (PREQUELLE, 2018)

Another barely-veiled reference to Tobias’ struggles with ex-bandmates, See The Light is also one of his band’s most shamelessly uplifting compositions. Feeling like a positivist ’80s anthem – shot through with a little venom – its tinkling keys, soaring synths and understated, rumbling riffage propel an effortlessly memorable message about transcending the ill-will of one’s antagonists. Sing it together: ‘Every day that you feed me with hate, I grow stronger!’

13. DEUS IN ABSENTIA (MELIORA, 2015)

Riding on the metronomic beat of their Monstrance Clock, the closer on Ghost’s third album (translated from Latin as ‘In The Absence Of God’) is an extravagant exercise in arch theatrics. Benefiting from Klas Åhlund’s grandiose production, Tobias comes across as both demon and angel, extending his dark invitation: ‘The world is on fire, and you are here to stay and burn with me / A funeral pyre, and we are here to revel forever.’ Concluding with a hymn-like Latin chorus, it feels like the ultimate corruptive culmination: a musical sacrament truly touching only to those in the know.

12. STAND BY HIM (OPUS EPONYMOUS, 2010)

The track that started it all. Inspired by that irresistible lead riff – stumbled upon while practising for another band – Tobias foresaw a deep, dark well of potential waiting to be tapped and threw himself in headlong. Although Stand By Him’s schlocky lyrics feel gleefully on-the-chin nowadays (‘The Devil’s power is the greatest one / When His’ and Hers’ holiest shuns the sun / A temptress smitten by the blackest force / A vicar bitten blind in intercourse’), they paved the way for everything that followed. On top of that, its soaring ‘It is the night of the witch…’ chorus line even rivals that of Donovan’s Season Of The Witch (an obvious influence) for sheer spellbinding catchiness.

11. GHULEH/ZOMBIE QUEEN (INFESTISSUMAM, 2013)

One of the less immediate tracks on Ghost’s second album was also its most important. A staggering, seven-and-a-half minute opus that unfolds from its sorrowing piano line and Papa’s desiccated hiss through a swaggering midsection to a conclusion full of proggy bombast; this was proof of the untold breadth and depth of their vision and sound. Pushing from their basis in ’80s classic rock through the looser sounds of the ’70s and right into ’60s psychedelia, this ode to the titular zombie queen (‘Up from the stinking dirt she rises, ghastly pale / Shape-shifting soon but now she’s rigid, stiff and stale’) feels like Tobias’ first real attempt to stretch his (cursed black) wings and remains amongst their most rewarding compositions.

10. RITUAL (OPUS EPONYMOUS, 2010)

Anyone who remembers Ghost’s ethereal emergence from the shadows likely does so with this earworm writhing in the back of their mind. Combining the slick melodies and wry fatalism of prime Blue Öyster Cult with the crunchiness of Pentagram and Saint Vitus – soothing organs and a driving bassline pulling away – they had the musical formula nailed. It was the imagery contained therein, however (all ‘bedouins and nomads’, fallen angels and ‘smells of dead human sacrifices from the altar bed’) that captured the imaginations of a congregation ravenous for a fresh take on ancient evil. Here, the doors to the sanctum were truly open.

9. YEAR ZERO (INFESTISSUMAM, 2013)

Tying into the Ghost B.C. renaming necessitated by their Stateside legal wranglings (the year zero being the pivotal point between the B.C. and A.D. timelines), Infestissumam’s sixth track developed into one of the greatest showcases of their dark majesty. Opening with a powerful Gregorian chant (‘Belial, Behemoth, Beelzebub, Asmodeus, Satanas, Lucifer’) calling to mind Jerry Goldsmith’s legendary soundtrack to The Omen, Ave Satana, the direct riffage and bludgeoning choruses that follow hammer home a sense of sheer monstrosity. Typically, the Year Zero concept is subverted, with Forge (and, reportedly, guitarist Martin Persner) picturing an ancient antagonist far predating biblical times: ‘Since dawn of time the fate of man is that of lice, equal as parasites and moving without eyes / A day of reckoning when penance is to burn, count down together now and say the words that you will learn.’

8. MIASMA (PREQUELLE, 2018)

Just when you think you’ve got Ghost figured out, they pull something like this. The first of Prequelle’s two extended instrumentals feels like showboating from an outfit whose legitimacy some fans had dared question following the acrimonious departure of so many players. Rearing into view as an expansively primitive space-rock soundscape, layering up into an ’80s prog epic, then exploding in a kaleidoscopic whirlwind of synths, Michael Jackson riffs and the best metal saxophone this side of Norway’s Shining, it was proof that Tobias’ vision would not be dictated solely by his own crooning King Diamond fixation and that it, frankly, knew no bounds.

7. ELIZABETH (OPUS EPONYMOUS, 2010)

Four years since their formation, Elizabeth felt like the break Ghost had been waiting for. Released on 7” vinyl (with the less-ear-catching Death Knell on B-side), the Mercyful Fate comparisons were immediate, with many seeing the sense of eerie grandeur and kitsch luridity at play as directly descended from the great Danes’ 1987 classic Devil Eyes. An ode to infamous Hungarian Countess Elizabeth Bathory – alleged serial killer and bloodbather – sees Papa getting his teeth sunk in lyrically: ‘Her pact with Satan, her disposal of mankind / Her acts of cruelty and her lust for blood makes her one of us!’ The fine balance between sensuality and sin has yet to be bettered.

6. RATS (PREQUELLE, 2018)

The lead single from 2018’s Prequelle feels like a bridge between the (relative) heaviness of the band’s past and the unfettered theatricality of the album that was about to follow. Powered by a straightforward riff and piercing organs, dazzling solos and a rogue harpsichord, its introduction of the Black Death concept in which the album would wallow (refracting contemporary grievances through the filthy lens of the 14th century bubonic plague) felt both atmospherically appropriate and deliciously alive. The Scandi-pop ‘oooh-aahs’ in the chorus remain one of the band’s most gleefully irreverent touches, too. And the question of whether ‘them filthy rodents still coming for your souls’ is reference to Tobias’ old bandmates has provided rich fuel to keep the metal gossip mill turning.

5. MONSTRANCE CLOCK (INFESTISSUMAM, 2013)

In the Roman Catholic church, the monstrance is an (often ornate) receptacle in which the consecrated communion host is displayed for veneration. A monstrance clock was an aesthetically-similar Renaissance-era timekeeping device capable of displaying date, time and a wealth of other celestial information, often used in church rituals. We suspect that Ghost just liked the faintly cheeky sound of the phrase when quickly spoken. Still, the song they wrought from that initial giggle is utterly unforgettable. Deliberately paced and overflowing with evangelical zeal, a slow build flourishes into a splendiferous closing chorus that’s turned many an arena into a church of the Dark Lord: ‘Come together, together as one / Come together for Lucifer’s son!’

4. DANCE MACABRE (PREQUELLE, 2018)

If Rats was pandering somewhat to the existing fanbase, Dance Macabre was the other side of the coin. A shamelessly retro ’80s-style power ballad that’s as light on overt Satanic references as it is heavy on the cheese, some fans saw it as a form of selling-out: a dilution of devilish imagery in service of greater American radio-rock appeal. Perhaps they had a point. From its fist-pumping percussion and effervescent guitar solo to that ‘wanna, be wit chu’ chorus hook, however, it’s executed with enough committed precision and knowing panache to stand on its own terms, and a whole legion of new fans couldn’t help be swept along through the gateway and on to far darker delights. Tobias’ explanation that this is a soundtrack for people living like there’s no tomorrow – as many literally did during the plague – adds an extra dimension. Best experienced with the gleefuly vampiric music video.

3. CIRICE (MELIORA, 2015)

It’s strange how things work out sometimes. Originally conceived with producer Klas Åhlund as a nine-minute instrumental deep cut, Cirice was chopped down and reworked into Meliora’s irresistible lead single – becoming the song that really kickstarted Ghost’s stratospheric ascent. An insidious opening combusts into an infernal crescendo before lurching into the band’s most bludgeoning riff to date. All the while, Papa’s beguiling vocals reach out, full of dark romance, for new converts to their corrupted congregation. 2016’s GRAMMY for Best Metal Performance felt like just reward for such inspired work. The Roboshobo-directed music video – featuring a school talent show that’s almost as horrific as the ones we remember – is another stone cold standout.

2. SQUARE HAMMER (POPESTAR, 2016)

Following the unprecedented success of Meliora, Ghost found themselves suddenly commanding crowds far larger – and more diverse – than they’d seen before. Most of the ingredients for these grander live rituals were already in place, but they lacked the barn-burner early in their set to get these massive rooms onside. Dropped as the standalone original track on the Popestar covers EP, Square Hammer gave them just that. Abstractly melding the cultist themes of Satanism and Freemasonry, the concept of selling one’s soul – ‘ready to swear right here, right now, before the devil’ – was hardly new, but the outright pop energy of those surging synths and that exuberant chorus clearly signalled that the game had changed.

1. HE IS (MELIORA, 2015)

If Ghost’s diabolical mission statement is to make the Luciferian ideals more palatable to the masses, then He Is must be their masterpiece. So perfectly camouflaged – with twanging acoustic guitars and reverberating vocals that could’ve been nicked from the golden age of AOR – is their message, that they could drop this at any Christian rock festival and only the most switched-on devotees would know the difference. Openly indebted to giants like Kansas and Journey (and less openly to more recent occult acoustic acts like Ancient VVisdom), there’s a burning light to the sound. The use of divine-sounding Latin (‘Nostro Dispater, nostr’alma mater’) to identify the titular ‘He’ as the dark lord of the underworld is just another characteristically twisted masterstroke. Kneel at their altar.

All rights owned by Kerrang!

What do you guys think? 

Personally there’s a few I’d replace and Ritual is always my NO.1. 

[a-wandering-ghoulette]

Ghost + Candlemass @ Lyon (Halle Tony Garnier) : A full live report translation.

“A Pale Tour Named Death”, such is the name of the great international tour of Ghost started last fall. After having performed in 40 Northern American venues until December, February marks the start of the European part of their program. All in all, 11 dates are planned in 6 countries: France, Holland, Belgium, Germany, Sweden and Norway. 

On this occasion, Candlemass support the opening part in order to defend their new album.

The first of these 11 shows had the privilege to take place at Lyon, in the den of the Halle Tony Garnier. As surprising as it can seem, it’s the first time that I go to a show in this venue, I who am more used to more intimate gathering.

This mystic place is a former slaughterhouse reconvert to receive events. It is characterized by its impressive architecture, made of a huge room with its movable bleachers and overhung by a showing metallic framework. This evening, the Halle Tony Garnier is set up to receive almost 5000 people.

vv Full translation under the cut vv

Purists won’t fail to express their irritation to see a band as cult as Candlemass opening a recent band like Ghost. The hard law of notoriety. However, with their 35 years of existence, Candlemass is part of rock history for having been among the pioneers of Doom Metal since their now cult album “Epicus Doomicus Metallicus” released in 1986.

Their presence on this tour is linked to the release of their 12th studio album, “The Door to Doom”, planned for February the 22nd at Napalm Records. This opus is particularly important in the band history, insofar we can note the great return of Johan Längqvist for singing. Indeed, over 30 years ago, the artist borrowed his voice to the opus which has made Candlemass well known, as stated above, before quickly announcing his departure in order to focus on other projects. The original line-up being now reassembled, however, I’m still carefully looking at this return since, for me, the voice of Candlemass will still be Messiah Marcolin.

It’s exactly 7:30 pm, musicians are appearing on stage. For almost 40 minutes, the quintet offer a selection of 7 tracks from their repertoire. Paradoxically, only one song is taken from their new album: “Astrolus-The Great Octopus”, precisely used for the promotion of “The Door to Doom”. The six other ones are from their discography depths : the 1986-1989 periode (“Epicus Doomicus Metallicus”, “Nightfall”, “Ancient Dreams” and “Tales of Creation”).

The heaviness of Candlemass’ melodies is flowing through the Halle, which is trembling along with the riffs, the drums hammering and incantations.  However, Johan Längqvist’s vocal performance, although honorable, gives a pronounced Heavy aspect thanks to his peculiar tone of voice, which tends to make me regret Marcolin time. We lose a little the Doom spirit.

Nonetheless, the band provides a true energy on stage and musicians seem sincerely happy to play tonight, in front of an audience visibly conquered by their set. Furthermore, the Swedish band conclude their part with the cultissime “Solitude” and its catchy chorus: “Please let me die in solitude”. A really good introduction.

Setlist :

Marche Funebre The Well of Souls Dark Reflections Astorolus - The Great Octopus Mirror Mirror A Sorcerer's Pledge Solitude

What a quick ascent for Ghost, which, in few years, imposed itself as an inescapable band of the international Metal scene, notably thanks to a particularly controlled imagery and communication, especially on stage. The Swedish band released last year their 4th studio album, “Prequelle”, at Loma Vista Recordings. According to me, the evolution of the band is yet far from going in the right way: in one hand the two first opus totally got me (“Opus Eponymous” and “Infestissumam”), thanks to this occult Heavy Metal influenced by King Diamond/Mercyful Fate, with memorable melodies, but on the other one “Meliora” and its successor previously evoked left me bewildered, because of a musical shift quite pop and rock mainstream oriented, which is not attractive for me. This being said, I don’t deny my pleasure to see Cardinal Copia’s band tonight. Already, the experience of their show at Grenoble in February 2016 didn’t left me indifferent.

It’s past 8:45pm. Behind the big black curtain, last arrangements are carrying out, while a liturgical singing (Misere Mei, Deus) is spreading in the assembly, when suddenly, the immense drapery fall and revealed the scene in which Ghost perform tonight: the stage is arranged like the doorstep of a cathedral, at the foot of an immense backdrop representing stained-glasses depicting Cardinal Copia. (translation notes: well nop’, it actually depicts the 3 Emeritae sons + Nihil, drawn by Zbigniew M. Bielak. It’s the same backdrop than the US tour)

The cessation of hostilities are announced for 11:30pm. The calculation is quick: it’s no less than 2h30 of festivities awaiting us! The set fall in two parts, separated by a 15 minutes break. With no less than 25 tracks scheduled, that is to say we will have the full enjoyment to (re)discover the band’s compositions.

More than a mere gig, Ghost propose a true show, in a really theatrical but assumed register, led by the only unmasked member: Tobias Forge aka Cardinal Copia. (T.N: yeah it’s a little bit weird even in the original text, some sentences are slightly clumsily written) He does not simply brilliantly ensure the vocal work, but he ensure the show with his multiples costumes, his numerous exchanges with the audience, his strokes of humor and almost exaggerated charisma.

As for his 7 acolytes, the Nameless Ghouls, they are not left behind as each of them offer strong performances thanks to their respective instruments, while efficiently occupying the wide space available. This staging is magnified by a truly exceptional lights play calibrated to the nearest millimeter, thus highlighting musicians and compositions. Let’s note the presence, although parsimonious, of pyrotechnical effects, while some confetti cannons crown it all.

It’s hard to find negative points to this Ghost performance, the show gifted to the audience tonight almost reaches perfection, as well from a musical point of view than a visual one. The level rose once more compared to the last time I saw them, 3 years ago. The band even succeed to make me appreciate the new songs, which left me indifferent on the studio record, that is to say! Chapeau bas!

Setlist :

Partie 1 : Ashes Rats Absolution Ritual Con Clavi Con Dio Per Aspera ad Inferi Devil Church Cirice Miasma Jigolo Har Megiddo Pro Memoria Witch Image Life Eternal

Partie 2: Masked Ball Spirit From the Pinnacle to the Pit Majesty Satan Prayer Faith Year Zero Spöksonat He Is Mummy Dust If You Have Ghosts Dance Macabre Square Hammer Monstrance Clock (rappel)

A big thanks to @a-ghoulette-named-wave who helped me with the translation .

(it was REALLY funny! Never forget: “Deutschland” instead of “Germany”, “what? Présence can be translate presence?!” and “PAF, I’m a professional graphist designer!” x) )

Let me know if you find any mistake! 

[herinfernalmusicaly]

Hello, oh earthlings.

Today I want to talk about a band that I’ve been really loving as of lately. This is a more or less metal band called Ghost also known as Ghost B.C. I first discovered this band a couple of years ago on Spotify and really loved what I heard, so in a moment of inpulsivity while in Vintage Stock I saw their first release, an EP titled Popestar and bought it without knowing what was on it. When I got home I played it, once again loving what I heard, but never played the record again for a year because at that time I had an awful record player that I had just discovered can, and will damage your records. With that being said Ghost was momentarily put on the back burner as I’m also always discovering new music, they were semi forgotten about for a time.

Fast forward to this year it was a cold winter day with a chill in the air, nothing to keep my time occupied I had a brilliant among many ideas, I decided to go through my Release Radar on Spotify. I was going down the list listening to those songs till my eyes landed on a song by none other than Ghost, recognizing them I quickly clicked on the song realizing it was a live track feeling compelled I clicked on the album to find that they had released a live album. Those that know me well know I’m a sucker for live music.I love concerts, I love live albums, I just adore live music. I can literally sit in my room and watch videos of live performances all day. It’s one of things that makes me the happiest, so after listening to that entire live album I started watching their music videos, live performances, listening to each of their albums and doing some research on the band.

  One of the best things about ghost (other than their music of course.) is their anonymity, aesthetic, and ecentric on-stage precsence. each member of this band is masked, never revealing their true identities. The front man and vocalist goes by the name of Papa Emeritus, The rest of the members are dubbed as nameless ghouls. I don’t know why, but I love this about them. It just adds a little extra something special, and unique really getting the wheels of my imagination turning and speculating. Though the true identity of Papa and five former Nameless Ghouls were dispelled when four of those five filed a lawsuit against Papa who is now known to be Tobias Forge. I don’t know who Tobias really is, or looks like, and I don’t want to. I’d rather be left in the dark when it comes to this. With new Nameless Ghouls among the clergy shredding behind their masks, and Papa revealing that over fifteen musicians have taken part of the ceremony (including, but not limited to Dave Grohl.) The anonymity lives on. Meaning you never really know just quite who you could be listening to or watching perform.

Something that’s equally as fascinating to me about this band as someone who’s a bit of a horror buff is their use of, and play on old-school horror imagery in not just their music videos which are so beautifully crafted, but also in their absolutely gorgeous album artwork. They play off of this very tounge-in-cheek Satanic lyricism and have managed to combine their love of horror films and traditions of Scandanavian Metal. For example their debut album Opus Eponymous has artwork on the cover that pulls inspiration from, and plays off of the cover of Salems Lot by Stephen King.

One of the main complaints that die hard Metal heads tend to have is Papa Emeritus doesn’t have typical Metal vocals in the majority of their songs. I however feel that’s a very close minded reason to dislike this bands music. If you see their music as purely Metal you’d be very mistaken. Though Metal is their most prominent and forefront of their genre and sound, they have a plethora of influences that play a part in their music as a whole to create something unique. I personally am very fond of the fact that they’ve taken typical Metal vocals here and there and mixed it with melodic vocals that are the beautiful yin to the instrumentations wicked yang. There’s something in Ghosts dicography for everyone from Metal Heads to Rock N Rollers to Hair Metalists to Thrashers and so on. They even have lost of 70’s influence and some 80s atmosphere. They’ve covered a Beatles song on that same album mentioned earlier, and The tracks “Con Clavi Con Dio” and “Genesis” are sped up Waltzes. With that being said if you’re in the mood for some kick-ass Metal that’s much more than Metal then go listen to these Ghouls.

[bearfeat42]

Get To Know Me Taggy Thingy

I was tagged by @hannibalssweaters for this. Thanks, sweets! xx

Nicknames: Bear

Star Sign: Slytherin

Height: One hundred and sixty-five centimeters

Time: an illusion

Birthday: i was never born

Favorite Artists: good question because I don’t think youguys could tell from my blog that I fuCKING LOVE GHOST AND MAGNA CARTA CARTEL

Song Stuck In My Head: Con Clavi Con Dio because that version on Ceremony And Devotion is SO good

Favourite Song Right Now: I have been listening to too many good songs lately and it has caused my brain to error. I am to tired to pick one, honestly.

Last Movie I Watched: Love Actually. It’s the time of the year!

Last Show I Watched: Jane the Virgin. That Tele Novela bullshit has pulled me in and I can’t escape.

When Did You Create Your Blog: Ooof I don’t know. A couple of years ago actually, but I never used it untill I started posting fanfiction on Ao3 and wanted to interact more with other writers. (waves at @hannibalssweaters)

What Do You Post?: Fanfiction, pics of my Swedish sons, dark or ironic stuff that I like. The occasional Doctor Who or Drag Race post, feminist rants, and lately I whine about my life a lot when i’ve had too much coffee and too little sleep.

Last Thing I Googled: Where the name Fíne comes from because @crystal8325 asked me about it

Do You Have Any Other Blogs: I used to have a Doctor Who blog, but I am way to chaotic to manage all that, so I deleted it.

Do You Get Asks: I have just cleared a month’s worth of asks for certain fanfic prompts. It was fun and kinda hard to do, tbh. But anyone who has got a fic idea can always send me an ask.

Why Did You Choose Your URL:  My url is named after a character I once wrote. Her name was Bear and she hurt her feet quite badly. Back then my English wasn’t what it is now, and I misspelled the word ‘feet’. 42 is from my favorite book :)

Following: Ghost peeps, witchy stuff, funny blogs I like

Followers: 306 :)

Favourite Colour: Blue. Make everything blue.

Average Hours of Sleep: WHAT IS SLEEP

Lucky Number: 42 I guess if I had to pick one

What Are You Wearing: A bathrobe. I just took a shower and getting ready for bed. For the pervs who want to know: It is green with every color I dyed my hair ever.

How Many Blankets Do You Sleep With?: One fluffy blanket and one quilt my mom made.

Dream Job: I would LOVE to be a legit writer, but if I could make money writing fanfiction I’d do that! What I see myself doing in the future is stay on at my job as a cook, take another gig as tourguide (in a museum or historic place or city or something) and write whenever I have time left. That is the only comforting thing I can think of right now *shakes fist at master’s program I don’t even want to be in actually*

Dream Trip: I have a van. Drive through all of Scandinavia. Bye.

Favourite Foods: I love all the foods, youguys. I am NOT picky. I love pasta, Indonesian food, Thai food, sushi, pizza, vegetable soups, pies, YOU NAME IT

Nationality: Gallifreyan

I am tagging @loo-nuh-tik because she just touched a beak boy, @darad123 because she loves Blackout and @vivern-of-nosgoth because she made a cool MCC gif

[the-unholy-abbey-of-ghost]

The Novitiate (Ghost Fanfic) Ch. 2

Link to Chapter One: http://the-unholy-abbey-of-ghost.tumblr.com/post/150437024175/the-novitiate-ghost-fanfic

The story is not dead, I just really suck at updating anything.

"So, how was confession? You've made it out alive and so I'm curious." Clarisse inquired the next morning over breakfast.

Esmeralda set aside her tea. "He only asked why I was late."

"And you told him?"

"That I had accidentally slept in."

Clarisse mock chastised her with a flick of her wrist and pointer finger. "Tsk tsk, Sister." She lowered her wrist back down to pick up her fork. "What was his response? Has he specified a penance for your actions?"

Esmeralda shook her head side to side."Actually, no. He just laughed it off. Literally, laughed it off. He didn't seem to mind at all. You'd think that he would be pissed for a member of his clergy to arrive late to his own ceremony." She then resumed to sipping her hot beverage.

The younger Sister cocked her head in curious bewilderment. "That's...good? I think. A little on the unexpected side though..."

With a sigh, Esmeralda sat in thought for a moment. "I know that I was not here for the reign of the second Papa but I've heard the stories of how strict he was about the Church. I don't know what to make of his younger brother. He was quite friendly."

"All devils have their tricks and charms." Clarisse looked at her friend with a warning gaze. "Perhaps he was only being lenient with you because you're a novice. Whose to say that he would not dish out some harsh punishment the next time or to someone whose had more experience with the Church? Be careful, Sister."

As Esmeralda was about to speak, she spotted the time on the on the roman numeral clock embedded into the stone wall. "It looks like it's time to go."

The two Sisters then rose from their seats to begin the short journey to the Chapel of Ritual. Clarisse was an early bird and often liked to leave for mass well before the bells chimed. It ensured that seating was available. Or so she said. The pews would be empty but the room itself was usually being prepared by the Ghouls.

They arrived at their destination, the doors were open so that the congregation could pour in right after the bell chimed for mass. Once inside, Clarisse took her spot in the very back pew with Esmeralda following after her. All was quiet save for the Air Ghoul softly playing the intro tune to Monstrance Clock on the pipe organ in the left hand corner of the room.

The Earth Ghoul was setting up the altar and lighting candles. When he was finished preparing the front of the room, he turned to walk to the back so that he could light the candles there also.

"Good morning, ladies." He said casually as he passed their pew.

"Good morning, Earth Ghoul." The two said.

Esmeralda didn't miss the way Clarisse had been staring at his every move or the dreamy way she greeted him. Somehow in her short time in the Church, she had developed a bit of an infatuation with him. There was no telling how or why it happened. Perhaps it was his voice or the way that he carried himself? There was no real answer and she never bothered to bring it up to Clarisse either.

The Water Ghoul and Alpha who would normally be helping in preparations in some way were absent, they must have had classes today. The Ghouls in the clergy would often assume roles as educational leaders from within the ministry. Water and Alpha were usually the first to be appointed to teach new members of the congregation. As for Omega, he was most likely somewhere in the back rooms, readying himself for today's mass.

There was still about fifteen minutes before mass, Air had switched to an even more solemn tune as he continued to warm up his fingers. Esmeralda closed her eyes and leaned back onto the pew, immersing herself into the meditative state that the soft organ playing was inducing upon her.

"Good morning, Esmeralda. I see that you're early." A familiar voice quietly said near her. She awoke from her trance with a little jolt, startled to find Papa standing next to the pew, wearing the same black and white suit from yesterday. "I haven't woken you, have I?"

She peered up at him to find him smiling gently. "Good morning, Papa!" She bowed her head slightly. "No, you haven't. I was just resting my eyes. The organ is soothing." She explained herself.

"Ah, yes. Air certainly is talented with the organ, is he not?" He turned his attention to the Air Ghoul who had looked over his shoulder at the two and gave a curt nod of recognition before returning his focus to the keys.

Esmeralda wondered what emotion had been hidden under the mask, the man hardly said a word. "I agree, he's wonderful."

Papa hummed his approval. "I'm glad you think so." He lifted his arm and pulled back the black sleeve away from his glove to look at a watch. "There's about ten minutes still before mass, why not use that time to rest up, ah?" He lowered his arm and patted her shoulder softly. "I must finish any necessary preparations. I'll see you during the service." He nodded his head to her before taking off for the back room.

Clarisse had watched the whole encounter and leaned over to Esmeralda. "I see that someone has become quite familiar with our new Pope." She whispered. "Tell me, what really happened during confession, hm?"

Esmeralda gasped at her insinuation. "Sister, absolutely nothing like that happened!"

"You addressed him as merely "Papa", only the Sisters who have had the honors of bedding our most Infernal Father address him so familiarly. Sister, if there is something that you're hiding, it won't be hidden for long!" She sing songed in a hushed voice.

"He told me to-"

"Kneel beneath his cloak?"

"Sister, no!" Esmeralda frowned. "He only asked me to-"

"Become a bad "habit" nun?" She chuckled to herself.

"Shh! Let me finish! He only-"

"Cast a veil of "dusk" upon your "cloister"?" She nearly snorted to herself.

"Sister, Clarisse. I-" Esmeralda's cheeks were growing warmer with each one.

"Tasted his magic potion, niveous?" The other Sister's shoulders were shaking with suppressed laughter.

Esmeralda sighed in resignation. "Fine! Get it all out of your system." Might as well let her have this one for now. The young girl was relentless, it seemed.

"That's all I got." She fell quiet with a smile. At last the teasing had ended. The older Sister waited a few seconds before responding and breathed deeply before continuing.

"As I was saying, Sister. His Infernal Majesty asked that I address him as "Papa." I haven't refused his request." She finally answered.

"I see...but would you have refused him other things?" She asked with a broad grin.

"Oh, Sister..." Esmeralda leaned forward to rest her forehead against the pew in front of them. A low chuckle sounded from behind them and they both turned to see Earth having finished lighting candles before a statue of Baphomet. He had been listening to the whole thing hadn't he?

"You girls." He shook his head, the corners of his blue eyes turned up. The sign of a smile. "Such nunsense." He offered his own pun and continued chuckling as he returned to the altar.  Clarisse had noticeably tensed next to Esmeralda, her cheeks a bright pink.

Esmeralda leaned to Clarisse. "Would you refuse service to Earth Ghoul?" She whispered.

Before the older Sister had a chance to poke fun, the church bell chimed and people began to steadily pour into the room, filling the pews. Luckily the seats always remained near empty towards the back, and so there was more than enough elbow room to go around.

There was some light chatter buzzing about the room, Esmeralda swore she heard whispers of yesterday's stunt. Quick glances her way confirmed the matter. She felt her face flush with the unwanted attention and she averted her gaze downwards.

The sound of an altar bell roused the attention of the congregation and all was silent. Papa stood at the altar table, dressed in his formal robes. He set a gentle flame to some frankincense in a swinging incense burner and held it in the air, allowing it to swing like a pendulum. Esmeralda noted how he regained his intimidating presence just by a mere change of clothes. Was this really the man who had been so laid back with her?

Omega, with his guitar. Soon followed after Papa and joined in at the seat next to Air and they both began to play a rather softer sounding version of Con Clavi Con Dio. The opening procession was beginning and everyone started to sing.

"Lucifer, we are here for your praise. Evil One.

Our congregation sings infernal psalms and smear the smudge in bleeding palms.

Siamo con clavi.

Siamo con dio.

Siamo con il nostro dio scuro."

The opening procession concluded three or so minutes later and Papa set down the incense burner.

"Lucifer's light enlighten you." He addressed the people.

"And also enlighten you."

"I've been made aware that we have some new members to our fold. I welcome you. I also welcome back those who have been here during my brother's service and even our eldest brother's, our founder. Dark Lord empower his soul in the beyond! It's been quite some time since his passing. I'm sure our veteran members have seen much change here since the foundation of our Church. Well you're about to witness a bit more, aren't you?"

Some low chuckles emitted from some of the older members.

"I'd like to thank Omega for filling in for these services in the time between the end of my brother's service and the beginning of mine." A round of claps filled the room as Omega stood and bowed before reclaiming his seat.

"Furthermore, because of what happened yesterday. I've been asked by Mother Imperator to give a brief lecture on punctuality." There came a few snide remarks, snickers, and whispers. "Now stop that, that's not polite." He scolded as if talking to children and the voices were hushed. However, this didn't stop Esmeralda from sinking into her pew a little.

Papa pulled out some note cards. "Mother Imperator has given her input here." He began to flip through the cards. "Fuck that." He tossed them away, letting them scatter on the floor.

A few gasps sounded throughout the room. No one expected the Church's new Dark Pope to disregard anything by Mother Imperator so blatantly.

"Here is my say on the subject. If you're late, I'm sure there is a reason for it. We all have our days, no? We sometimes forget the time, we stain our clothes before the big event and have to raid our closets under pressure, someone puts us in a foul mood and we no longer care for being on time, or we may accidentally shut down our alarms instead of hitting the snooze button." A round of chuckles filled the room and Papa briefly glanced at Esmeralda with a smile.

"We're all only human, being late is a common mistake. Just don't go making any habits of it." Papa announced sternly. "With that said, I still have to appease Mother Abbess somehow and so I have come up with a solution to the matter. Omega and the other Ghouls will be in charge of taking attendance, if you are twenty minutes late for any event over a period of seven days, you will be spending study and religious sessions with the Air Ghoul for a duration of six weeks. He takes his job very seriously." Air looked over the crowd and nodded.

"However if you are more than thirty minutes late or are absent from any event for a period of seven days without a medical excuse, you will be spending your sessions with Mother Imperator for six weeks." Papa eyed the crowd. "None of us want that, do we? Hell no!" He chuckled to himself. There was no way that Esmeralda would be able to last with Mother Imperator. It was a good thing that being late to the inauguration was a one time deal and that she will never be late to another event again, or at least she hoped.

"Now that all of that has been taken care of, let us move on with the service." Papa continued.

The rest of the black mass continued with psalms to the Dark Ones, the Church's anti-Nicene creed, an observance of darker aspects of human nature, and finally concluded with the mass singing Monstrance Clock.

"Everyone have a wonderful rest of the day, for those that don't have anything scheduled, go out and fuck each other!"

Everyone gathered in loud laughter and smiles. It was clear that the services would be very entertaining and far less formal than what the congregation was used to. The room began to empty faster than it had filled.

"The entire congregation seems to be genuinely enjoying themselves." Clarisse stated.

"It's definitely not the norm but it is a wonderful change from all the formal and boring services." Esmeralda was mostly glad that all the attention seemed to be drawn away from her again.

"I think I'm going to really like this new Infernal Father, I see what you mean now. He seems to be a very relaxed person." The younger sister glanced at Papa then back to Esmeralda. "I still think something happened between the two of you though, you were barely there for half the service. I could tell your mind was elsewhere, Sister!"

"Sister, please. Not with so many people around!" The older sister whispered. "Besides, I was paying attention to the service."

"Sister, you locked eyes with him on a number of occasions throughout the service."

Had she, really? How could she have done so without realizing? Esmeralda's face flushed a bright pink.

"It appeared as though the both of you were communication unspoken words to one another. Or as if the two of you were disrobing each other with your eyes!" Clarisse grinned ear to ear. So,The teasing continued.

"Sister, please!" Esmeralda sighed.

"I'm joking, Sister. I have to be going now. I have choir next. After that speech, I don't want to be late. I'll meet with you soon. Oh and, I think the Infernal Father desires your attention." She whispered the last part. Sure enough as soon as the most of the people had left the room, Papa was making his way over to them. "Toodles, Sister!" The younger Sister chuckled softly to herself as she made her way out of the room.

Esmeralda sighed as she stood, feeling completely awkward while waiting for Papa to cross the short distance down the aisle.

"Esmeralda, dear! Did you enjoy the service?"

"Y-yes, Papa. It was very different from anything I've seen thus far."

"Ah, good, good then! Tell me, have you anything scheduled today?"

"I have lessons in demonic studies in an hour but after that, nothing." She wondered why he wanted to know her schedule today.

"Would you perhaps like to join me for lunch this afternoon?" His eyes gleamed hopefully.

What. Was this...a date? Esmeralda felt a fluttering in her chest. No, no. Couldn't be, right?

"You are a bright young member to the flock and I would like to hear any input from you regarding any changes I'd like to make. Given our little chat yesterday, I'd love to discuss the matter with you in detail." He further elaborated.

Right, not a date. The fluttering in her chest receded and she mentally recollected herself. "Sure, I'll join you for lunch!"

"Splendid! Meet me in the garden at 12:30. I like to take my lunch outside in the gazebo."

Esmeralda nodded curtly. "Will do, Papa." She smiled up at him.

"I'm glad! I must be off now to run a few things over in my office." He patted her shoulder and made a step towards the door but stopped as if he had remembered something. He turned to her, "oh, and Esmeralda. Would you be so kind as to wear something nice? Not to say that you don't already look nice, You look very pretty in your habit but it is very rewarding to dress outside the norm, wouldn't you agree?"

Esmeralda's cheeks tinged a light dust of pink. "I do! I'll find something to wear, I'm sure." She broke into a nervous grin.

"Good, good, my dear! I'll see you then." He grasped her hand in his and pressed her knuckle to his lips briefly before leaving the room. There was that fluttering back in her chest again. There was something to look forward to this afternoon and it made her nervous in an excited way.

Esmeralda walked out of the room unaware of the piercing gaze of Sister Athaliah on her back. 'The Father has picked a favorite already, has he?' The dark haired Sister thought. 'Well, he'll be delighted to get to have the experience of a more "educated" Sister, won't he?' 

She smirked to herself and strutted out of the room, heels clicking down the near empty halls.

[tisthenightofthewitch]

Full Metal Hammer Forum (London) review for the Anon who asked for it.

(I’ve left out the Zombi review because it’s not relevant or flattering tbh)

The mix of Hammer Horror, vaudeville and Gothic mystery means a Ghost show is as much about the theatrics as it is the music. The capacity crowd is jolted from their Zombi-induced stupor as the opening riff of Square Hammer cuts through the air, and Papa Emeritus III seemingly appears in a puff of smoke thanks to some dry ice and clever lighting tricks.

The Nameless Ghouls are as synchronised in their headbanging and foot-stomping as the chorus in a musical, and Papa is the ringmaster as he strides around the stage, directing them with flicks of his gloved hand. Starting a set with what’s easily their most accessible track could put them in danger of peaking way too soon, but the energy is kept at electric levels as the band continues into From The Pinnacle To The Pit. Part of Ghost’s appeal has always been their ability to meld traditional Gothic sounds with ostentatious riffs that veer from prog to psychedelica to hard rock, and top it all off with a performance that’s earnest but delightfully camp, ensuring they appeal well beyond the niche they could easily be consigned to at first glance. Papa pauses to invite his ‘Sisters of Sin’ onstage and quips that when he condemns the nuns to “the pit” (meaning photo pit) the occupants down below should be careful not to put their fingers in places they shouldn’t. Whether it’s intended as Carry On-style humour or a veiled reference to the inappropriate behaviour that happens too often at gigs is open to interpretation, but it draws a few chuckles all the same. The nuns are spared being shoved off the stage and exit via the wings.

Dry ice fills the room as Papa powers through the Satanic hymns Con Clavi Con Dio and Per Aspera Ad Inferni, holding his congregation enraptured with the Latin chants. He seems to glide, spirit-like, across the stage, and disappear at moments as clever planned lighting casts him into shadow, only for him to reappear on his pulpit between synths and drums. The creative lighting takes the gig from standard show territory into something worthy of the West End, and if the lighting engineer’s brief was ‘mood and atmospherics’, they’ve fulfilled it and then some. The stage is plunged into darkness for a few moments after Year Zero, the Nameless Ghouls hanging still as they wait for their leader to reappear. When Papa materialises, he’s morphed from Popestar into Dapper Papa, in a tight-fitting Victorian-styled dinner suit and slicked back hair that shows another reason Ghost are so popular: Papa is sexy. Not very often does a man in robes with skeletal contouring manage to combine that with the pheromone-tickling appeal of a period drama actor, but when the suit goes on and replaces purposeful strides with hip thrusts, he manages that rare feat.

Pyro erupts from behind the pulpit as He Is gives way to Absolution and confetti falls through a rousing rendition of Ritual, making that a hat-trick of effects.In keeping with the high energy of the rest of the show, the encore is swift and powerful, with none of the usual pretence of finishing the gig or bidding the crowd a fake farewell. The band exit quietly, and the blackout is momentary, before the stage explodes into life once more for Monstrance Clock. This time, Papa and his band take their bows as the solemn chant of the chorus implores the assembled to ‘come together as one’.

There’s no doubt that the audience are united in their wonderment tonight: Ghost truly are preaching to the converted. (9)