I've been wanting to do this post for a while now so here is EVERYTHING I CAN TELL YOU ABOUT THE GHOULS' IMPERA COSTUMES.
Buckle up because I have a LOT to say about those, this is gonna be a very long one.
The costumes were designed by B Åkerlund, a Swedish costume designer who's worked with Ghost since at least Meliora (that's as far back as I was willing to scroll on her Instagram page lol). B Åkerlund has also worked for many other musical artists such as Lady Gaga, Beyoncé, Madonna, the Rolling Stones, Ozzy Osborne, Blink 182 and Hollywood Undead (information from her own website)
The masks were made by Bob Basset, a visual artists who works a lot with leather. I find his work fascinating, you can look him up on Instagram (nsfw warning, there's a few naked ladies).
Fun fact! The horns are real cow horns. That's the reason some of them have gold tips, to hide the imperfections that come with working with actual horns.
He does have a shop where he sells his items, there's a mask there very similar to the Impera ones. You can also buy Papa's batwings if you happen to have 2500$ lying around!
The jackets are made on the same model as one of Papa's. The back is decorated with a spine-like design made from leather and cording. It's adorned with a few of our classic Impera buttons. Some of the hems were left raw and some deliberate weathering was done to make it look old and worn.
Fun fact! The shoulder pieces are not sewn into the garment, I would assume for easier cleaning. I don't know if they're held by strong magnets or snap buttons.
The vest (my beloved 😩) is made from flocked velvet in a paisley pattern, the front hems embellished with satin piping. It closes in the front with custom metal clasps that are riveted into the garment. The D parts are attached with what seems to me like wide elastic, which would lessen the pression on the clasps when moving around a lot. The back is made from two different types of fabric, I'd have to touch it to be able to tell you what they are. I assume the panels closer to the sides have some mild stretch to them. The top of the shoulders are decorated with Impera grucifix patches.
The shirts were not custom made for the ghouls, altho they were altered. The original shirt in the vintage painter linen shirt from Punk Rave and it is still being sold. Some of the cuffs were altered, removing the ruffles for some of the ghouls, but not all. They were removed for Dew, Mountain and Phantom, Aether's didn't have them either. As far as I can tell, all the ghoulettes still have them.
An unfinished piece of linen serves as an ascot, that piece is decorated with a metal devil skull. The colour of the skull doesn't appear to be consistent between each ghoul, Dew's looks gold almost bronze while Phantom's is a silver-like colour.
Another modification is the buttons, a small portion of them were removed in favor of our Impera buttons. Some of the ghouls have more buttons replaced than others, which is still a mystery to me.
The pants are called Jodhpurs, they were invented in the 1800s as horse riding pants. The wide part at the hips and thighs allowing for better movement. The ones the ghouls wear don't reach all the way to their ankles, they stop a bit past the calf muscle, hidden by the boots. (Yes, the ghouls are effectively wearing capri pants)
The boots are motorcycle riding boots, decorated by a grucifix. Like the shirt, they can still be bought online through the All American Boots website, altho the price tag is... Headache inducing to say the least.
The cape is a piece of costume that was only briefly worn on stage by the ghouls, Aurora being the only one who still wears one. I would assume it gets in the way of playing very easily. The cape itself is made of two fabrics, a light blue satin and a dark grey suede. The two pieces are not sewn together at the bottom, they move freely from each other. The cape is attached on the left shoulder with a harness piece that has one strap across the chest, decorated with a metal buckle, and one under the armpit.
I don't know why everybody happily talks about one set of twins, because we have two. The Children of the Clergy (TM) are there, as The Grady Girls of The Shining. We have seen Sister give birth to twins. Nihil and Sister are Copia's parents, allegedly.
Ghost lore is full of holes, but...
We are waiting for this door to open. If it is a twin, we have too many twins. If it is a twin, the horror movie trope is that one is the evil twin. I don't know what to say about moustaches.
“RITE HERE RITE NOW is, however, so much more than a concert movie. GHOST’s debut feature film combines live performance from the two-night finale of the band’s RE-IMPERATOUR U.S.A. 2023 with a narrative story that picks up plot threads from the band’s long-running webisode series. The result is an utterly unique phantasmagorical blend: Flesh and bone renditions of favorites from all five of GHOST’s albums as well as the RIAA platinum-certified “Mary On A Cross” and more are interwoven with the silver screen debuts of a few faces familiar to the band’s legions of fans—all interacting behind the scenes with GHOST's Papa Emeritus IV, as his future and fate lay in the hands of the Ministry.”
If you want to see the Papa shashay away, you have to watch the film.
She's warning her son. And after that, she returns to the underworld. Is Sister dead? Is she going to die? Is the film reference related only to the warning? I think so.
(And also, I don't like to think about losing mothers in this world or the other)
(But Karras and Blatty and the medal. The mom was already dead. Karras fell.)
(...and Karras didn't die, he just went to a mental ward, and his name was Legion, for they were many.)
Papa has to die yet. Sister is giving him a warning. Pazuzu appears, as Lucifer:
"Lucifer, whispering
Silently into your mind
[...]Don't you forget about dying"
So, maybe he's going to die in the movie...
Look for the scene of Father Karras' dream (The Exorcist).
Like an apparition manifesting within a dense fog, it was through radio static that Swedish rockers Ghost were formed. In the kindergarten he attended as a young boy, Tobias Forge found himself enamoured with the music crackling through the little toy speakers. From this point forward, he began picking apart the notes and melodies - his journey toward the lore and canon coming into focus as he sat, trying to figure out how this black magic could be summoned.
While it would be many years before he would don his garb as Papa Emeritus, the essence of what his future would sound like was being set through his exposure to a wide variety of music. If any proof were needed, just look to the impressive list of covers Ghost have put their ghastly mark upon, including 2016's 'Popestar' EP, which included the band's takes on Echo & The Bunnymen ('Nocturnal Me') and Simian Mobile Disco ('I Believe').
Ghost's latest EP is another covers bonanza. A five-piece offering of Tobias's backstory, 'Phantomime' plays out like a Greatest Hits radio playlist - a fitting throwback to Tobias' first dalliances with music. Of course, when a group more aligned to the metal/hard rock community bust out covers, including Genesis and Tina Turner, eyebrows are raised. To this reaction, Tobias scoffs. "In 1991, Genesis was one of the biggest bands on the planet! That was a huge hit. In the mid-80s, when I had an older teenage brother who rented every VHS movie that came out, of course, we saw the fucking Thunderdome, and that was a huge hit, and it's still being played on Swedish radio. It's an evergreen; it's not an eclectic choice at all," he declares. "I grew up listening to Stranglers because my brother liked them. What else do we have, Iron Maiden - I mean, are you kidding? I'm a metalhead!"
Originally conceived during the sessions for their fifth album, last year's 'Impera', there were two folders on his computer's desktop: one named 'Impera', the other simply 'Covers'. As the ideas for 'Impera' grew, Tobias would enter his usual routine of working on a cover or two. "At any point, when you lose a little wind in writing your own things, it's quite nice to say, 'Today let's go in and work on the covers'; you can choose anything you want, you can work on absolutely anything you want. And you don't have to finish it, you don't have to release it, you don't have to do anything, but just continue working."
He likens it to the freedom of being a theatre owner who, instead of trying to pen the next greatest Broadway phenomenon, opts to have a go at something already timeless and perfected.
"Maybe you're like, 'Okay, so this fall we're just going to do a reinterpretation of Hamlet instead, that's going to be fine, and that keeps everyone working, and that keeps a project moving along! And I find a similar thing with working on covers. So as I was writing "Impera', the covers folder was also growing exponentially and at a point. I had this idea that was going to be a full-length album."
With COVID restrictions meaning the original producer for 'Impera' was stuck in the US, Tobias had to source a replacement. It would be Klas Åhlund who stepped up to the plate. But, on one condition. "He was pretty upfront. He was like. Yeah, I only want to make the record; I don't want to work on covers," Tobias remembers "Fine, fine, fine, that's fine." he shrugs. "So, after the 'Impera' recording was done, I felt as if making a completely different, whole record again: I didn't have time for that. I didn't have the energy for that. But once I trimmed down the number of songs to only these five to make a very rocky record, it loosened up the screws a little bit for me in terms of like, "Okay, so now I know what the EP is going to be - it's going to be a full, full-throttle rock one."
Ditching some rumoured softer covers, including U2, Misfits, and Motörhead. 'Phantomime is instead a delectable slice of Ghost doing what Ghost do best: creating theatrically big rock. It's Tobias's mark upon some bonafide classics, including Iron Maiden's 'Phantom of the Opera' which feels as befitting to Ghost as it does seeing Papa Emeritus kick the bucket ready for his next iteration. While the focus was on creating this small dose of Tobias's musical DNA, it also served another purpose; to simply be "not very complicated." The project began with the mindset of "we can make this recording loosely - quick but stress-free - as opposed to making a record which is your hard fifth record that needs to live up to certain standards. So it was just a very inspired, very simple recording, actually."
After the complexities of 'Impera' which wound up requiring two studios simultaneously running in parallel "to be able to work efficiently" - Ghost was morphing into a taxing experience for the band leader, "It was just a bigger thing [and] way more stressful."
Deciding to strip that covers folder down to the five tracks, by all accounts, 'Phantomime was a measured and reserved effort. "It ended up being me, an engineer, and an occasional musician coming in and doing something. It was so much looser, so much more mentally Feng Shui," he smiles, relief glowing in his voice. "And I think that that reflected a little bit on the two different records. They're meant to be related - they are definitely related - they were made roughly in the same time, but they're completely different things."
'Phantomime' plays out like a ghoulish social commentary. Starting with a searing rendition of Televison's 'See No Evil, the journey traverses the scourge of Televangelism (Genesis' Jesus He Knows Me') with a delightfully-fitting NSFW video, the instant gratification humans require to feel (The Stranglers' Hanging Around"); the pull back into cruel reality (Phantom Of The Opera"), and the resulting undying hope from a degraded society (Tina Turner's 'We Don't Need Another Hero"). Each offering is bolstered with Ghost's dramatic, theatric rock licks and Tobias's powerhouse vocals.
With 'Phantomime' in the bag and the European leg of the 'Impera' tour imminent (Tobias is currently holed up in preparation), the idea of reflecting on how he came to go from a young boy listening to the static sounds of pop hits on the radio to orchestrating not only a feverishly adored band and its lore but finding the capacity to embrace his inner music nerd, couldn't be more timely. Tobias's relationship with music has always been one of intrigue. He's a pop songwriter with the ambition and ideas of a stadium rock band, which, in essence, explains perfectly why Ghost can sit in a unique, exponentially growing and expanding space.
"My earliest inclination of wanting to transform into something else was definitely Twisted Sister," he recalls. "You know, "I Want To Rock' and 'We're Not Going To Take It' - that was a huge record in 1984, and in 1984, I was three years old," he says. "My brother was 16, so everything that was going on pop-culturally amongst teenagers was happening in my home."
It was thanks to his brother that much of Tobias's relationship with music was formed. He's introduced him to various giants of the time, like tectonic plates being pushed around, impacting and shaping his musical landscape. Translating for young Tobias the attitude of punk at the time, as well as everything else that was 'in', he remembers, "When I was a kid, and he was supposed to babysit me, as a pacifier he would put me in front of [Sex Pistols mockumentary film] 'The Great Rock 'n' Roll Swindle"," he laughs. "And then when that was over, he would just switch to [X-rated cartoon] Fritz the Cat. And I loved that stuff, of course. That was as much [about] the expression and the attitude. Of course, I loved the songs, but it was also filtered or combined with big songs for me." Those big songs ("Men At Work 'Down Under'," he initially cites, "those sort of songs still have a unique place in my in my writing") would eventually entwine with his darker side that he'd explore as he grew older. "Whilst my whole adolescence was completely in the name of extreme metal, I always had a very soft spot for Top 40 rock and pop radio always," Tobias explains. "And I've listened to that all my life. So it's almost equal portions of Venom as it is anything. that was on the radio."
Also, witnessing shock and glam-rock bands explode intrigued Tobias. He became swept away in the idea that not only could you push a boundary to its absolute limits with convictions and over-the-top grandiosity, but you could do so with songs that quantifiably bop. But, as time has gone onto prove, it wasn't pop music that enamoured Tobias enough that he wanted to become a pop star. It's the mythology and mystery that has become his calling card.
Tobias remained an enigma under the disguise of an evolving form of the iconic Papa Emeritus (now in his fourth incarnation) until 2017, after a lawsuit from a previous iteration of his backing band's rotating cast, the Nameless Ghouls. Visual and video components to releases are often hoovered up by the fandom, stripped apart for meaning and potential. Instagram posts are referred to as a '[Message From The Clergy]" (a phrase later claimed for 2022's Best Of playlist), and lest it is forgotten, the Ghost 'Grucifix' - the prominent crucifix deconstructed into Tobias's gothic 'G' logo - which ties together the vision, religious imagery and satire that would become a core part of the Ghost experience.
His musical ambition and education colliding in the middle of his Venn diagram between dark metal and pop magic is thanks to the likes of the aforementioned Twisted Sister and W.A.S.P., as well as his teen years in the black metal community. "Their first record was also a huge impact in Swedish media," Tobias remembers. "There was this big sort of Satanic panic thing going on at the time in the fall of 1984. Where you had essentially all those things happening. You had Mötley Crüe 'Shout At The Devil', which came out a year earlier, and they were there because they toured with Iron Maiden in 1984, so there was a lot of focus on these shock-rock bands. I saw that as a kid, and I was immediately blown away - it was the coolest thing I've ever seen. And I think that that was the trigger that made me identify as that is how I want to express myself."
Decoding the songs he'd hear also became an integral part of that expression. "That was the only thing I did for years before I started writing my own songs." Recalling his time in kindergarten, they had a piano and guitar, which Tobias became infatuated with. Instead of playing with the other children, he would find himself enraptured, listening to the radio or flipping over whichever cassette happened to be loaded at the time. He would then imitate the sounds he was soaking up. "A lot of those early beginnings of how to learn and how I've learned how to understand music filters through everything I do now," he explains.
The early records he'd find himself trying to unpack included KISS 'Alive' and Pink Floyd's 'Piper At The Gates Of Dawn' - disparate matches, but undoubtedly Ghost fuel with hard rock melodies and psychedelic tendencies. "I had the first and the second Pink Floyd on a double LP that was called 'A Nice Pair'. And that's the shit that I sat and listened to and played guitar to," he says proudly. "That's weird music, that's really weird chord sequences and melodies that sort of went nowhere. And, that coloured me a lot in my vision of this is how you write a pop song. Of course, I knew more conventional writing as well. But I figured that this resonates with me, and I want to write more like that."
Tobias is the first to admit that the influence his musical exposure has had on him isn't the most straightforward. "For all the years that I was in bands, up until Ghost, basically when I was in bands not doing well, I got a lot of, I wouldn't say stick, but it was always like, 'You write weird songs, there's something weird about them, and it will never really become anything because it has that sort of weirdness to it".
As he grew, the songs he'd heard reflected this inherent strangeness he'd constructed. Before the days of mass formulaic pop factories, the music emanating from the radio abided by the strictest rule of needing to at least be approachable, but within these confines, artists of the 70s and 80s would push the envelope as far as they could. Citing Nik Kershaw's 'The Riddle' as one example, "Holy shit, if you would have taken that song and taken it to a chord structure masterclass amongst pop writers now who want to write songs for Miley Cyrus or The Weeknd or any of that sort of level they would say, no, no, no, no, that this will never work. It's too strange. It's too weird. You can't do that; it doesn't have the normal chord progression.
"There are a lot of songs from the 80s that are like that," he reckons, "compared to the now, more informative way of writing, the 80s was braver actually, and it worked well. And those songs are evergreens in a way that a lot of the top radio shit from seven years ago is forgotten, and that's the stuff that I grew up with when I started playing the guitar."
Having made that inner sanctum, he would enter kindergarten a reality, one where he can explore those recesses of his mind shaken by the musical earthquakes he experienced; now, he's matured and deeply entrenched in the reality. "Throughout the modern day of pop writing, I know a few professional pop songwriters, and we continue having these conversations because in pop," he says, "where some of them work prolifically on really high releases, they're like, it's strange how the business wants everything to be so informative. Everybody wants a weird song, but still, all the big songs are usually very, very formatted [and] very, very simple."
While unpacking the songs he'd heard back in the 80s offered Tobias a chance to comprehend what makes a good song, it, more importantly, helped him to set out doing it on his own. When digging into crafting a new Ghost number, Tobias explains that "each new song is a little bit like virgin territory with its own riddle to be solved, and is always a combination of the horror of maybe not solving the puzzle, with the thrill when you do. And it's never easy because each new song needs something new. And so you constantly need to feed your ability with knowledge about how other things are."
Breaking it down into a figurative example, he likens it to being like a detective. "I'm assuming that part of being a great detective is to constantly have an open mind, but also constantly learning about human behaviour and wha people do. If you just had 100 forensic classes, but you know nothing about people and how they live their lives, it's gonna be hard to solve crimes." The same rings true for writers who have to read to improve and further understand language, while comedians pull from real-life experiences - music is no different. Tobias's early days of stripping down songs to their basic parts and then rebuilding them have remained a constant endeavour. "But that's how you write songs as well; you go and absorb new things."
The covers process, as mentioned, is a release for Tobias. When things are stuck when trying to piece together a new chapter for the Ghost bible, a cover offers up a chance for something lighter. "Working on covers can be equally euphoric," he confirms, "because it's fun to understand a song whereas, on the other hand, it can be almost demoralising because you're like, I can't believe that this song is so much better than anything that I've written! And it's so much easier. It's so simple."
"I find myself overcomplicating things often, but you might not hear the complicated detour that I took to end up at the more understandable, straighter version that ended up being the actual recording," he continues. "That's a never-ending struggle because that's how it's supposed to be. It's not like you write the one song. I don't think I know anyone or know of anyone who's content with the idea of having written one huge song. And then you know, okay, that's nirvana for you. You don't write the one song the same way that if you're a comedian, it's not like, 'Oh, I just told the funniest joke. So now I'm done".
While Tobias is one for wanting to keep the ball rolling and on a constant endeavour to continue his musical evolution, he knows there's a limit. Every release of Ghost must have a purpose. Nodding to the 60s method of firing singles out on all fronts, eventually compiling them for a full-length release, Tobias acknowledges his relationship with his fans is based on a more long-term understanding. "That's not how we do things; we make an album, and off of that album, there are singles - it's a 70s/80s thinking. And I don't want to refrain from that - I don't want too many singles to be these autonomous little creatures."
But the world is different now. It's a Wild West where being in the masses' consciousness is key, so things may have to change for him. Admitting that right now, he knows he's post-release of Ghost's last canon entry, 'Impera', which arrived back in 2022, and while 'Phantomime' is a reasonable enough bridge, sooner or later, he's going to have to play the game of ensuring Ghost ramp up. Earlier this year, Ghost collaborated with Def Leppard's Joe Elliott on a re-release of 'Impera' cut 'Spillways' which, while a fantastic addition to their arsenal, adds to the same notion Tobias is fearful of. "I'm slowly preparing for making a new record that's going to come out in 2024, which is way too long for the current contemporary music climate; you need to be ever-present," the last phrase hanging in the air ominously.
That doesn't mean he has to lower his standards, however. No Ghost release will exist just for content's sake. Everything must have its place. He even reckons a 14-track album is "a lot of music", and he still sees an album as being "22 minutes of music per side" - true to form, currently, no standard issue of any Ghost album breaches 12 tracks. He's even ready to aim for the likes of The Rolling Stones and The Beatles by swiftly lobbing a couple of spicy takes out. "Look, man, I don't even think that 'Exile on Main Street' is that good. Not even the fucking White album is that great - break it up! Both of those records would have been better if they were trimmed down to singular records."
That pop mind breaking through; Tobias is someone who knows that music is entertainment. Certainly, a medium which often leads to more bulky connotations, but it must entertain. It's why he doesn't pay any mind to those naysayers that yearn for Ghost to be more metal or to follow a different path. This is Tobias's game; we're just privy to the sermon. These days the floodgates are open and, when compared to previous decades, as Tobias remembers it, "you had to buy your own records. Whatever additional music you got, that wasn't maybe heard on the TV or the radio, when you took something from someone else, was usually a choice, so music styles could in some way be a little bit more insular back then just because you weren't subjected to as much." He mentions his beloved death metal as being a signifier of the changes happening. "Back in the day, when I was starting listening to extreme metal, that was completely embraced by a certain little subculture or group of mostly teenagers and 20-somethings. Whereas in the 2000s, when Vice started doing black metal reporting, all of a sudden you have indie personalities who were fans of Darkthrone, and so, obviously, what ended up that turned into this fusion, which was a positive and very natural thing."
This cultural shift is another reason Ghost's space is widening and its success growing. "Nowadays, people are a little bit more open," he admits. But, with this comes issues. "As time has progressed, metal and hard rock, as well as most genres that have been around for a while, [they've] gone from this youth culture to a conservative institution because so many of the fans are now aged." The passage of time waits for no one. But, more presciently for culture, it also means our understanding of what is 'good' and what should be where is moulded differently to when we were younger. "Unfortunately, that happens to most people regardless of who you were when you were 20," Tobias reckons, "or your ideals when you're like 40/50/60 years old. Your brain starts morphing into a slightly more conservative, slightly more nostalgic... You don't want things to change."
Tobias is the first to hold his hands up and admit the same has happened to him. He yearns for 1984 and even 1990-94. He would even be happy with 1987, back to those days with the crackling radio and a childlike spirit. "That would be so much cooler. I loved that way more than in this day and age. But I can't sit around and mope about that because it's not a problem that it's not 1987."
'Phantomime' is proof nostalgia can be a useful tool. It fuels with passion, and Ghost is Tobias's Neverland. "There's such a debate about what we are and why that is." Ghost are a band that, thanks to Tobias's musical education, transcend time. They exist on their own plain and with the evergreen, timeless sounds of yesteryear echoing around Tobias's head, long may Papa reign with his gloved melodic iron fist.
Slav, do you ever just get the feeling that Ghost is getting turned into everything it shouldn’t be? I have always frowned on gatekeeping things and exposure is good for a band’s success etc but it’s putting me in the mind of all of the various things in the world that were ruined by too many tourists. Like national parks getting trampled or famous statues being discolored after everyone needed to touch it. You know? To be fair I’m a chronic overthinker but I can’t help but feel like I’m witnessing it (the fan side, not the music itself) being twisted into exactly what Tobias would hate.
This response came out VERY lengthy, I apologize in advance.
To answer your question shortly: yes, I do feel that way sometimes. However, I would be hesitant to involve TF in this discussion because I don't know him on a level that would allow me to gauge his true feelings on any particular matter. If I were to say "I hate it when Ghost fans [blah blah blah], because he would hate that!" it would only be an attempt to justify my own opinion about something, not a genuine concern for his feelings. Implicitly, I would also be shaming other fans and making them think that they are enjoying the band "the wrong way" when in reality, they simply enjoy it differently than me. That's unfair because I have no right to dictate how others should perceive Ghost. Everyone's experience with the band is unique and personal to them, and I have no authority to infringe upon that.
I think the sort of disillusionment that you describe is a common experience when you're a fan of virtually anything and it evolves. There's no solution for it. It just is what it is. The question is, to what extent is it a result of the band "being turned into something it shouldn't be" and how much of it is simply due to our own personal sense of nostalgia?
If you became a fan of the band several years ago, you'll likely always look back on those times through rose-tinted glasses. No other experience will ever compare to the emotions you felt back then, because they were formative and unique to that time in your life. You may continue to enjoy the band, but it's unlikely that anything will be able to replicate the same level of excitement and anticipation you felt when you were first introduced to them.
Of course, it's true the band has evolved and there's no denying that the community has undergone a significant shift over time. If you had seen them in concert a decade ago, the majority of the audience were people in their 20s and 30s. You had an odd kid here and there and the occasional, let's say, 'senior citizen' headbanging, but majority were young adults. It made for a very different dynamic which was also reflected in online spaces in terms of what was being discussed, how it was being discussed, and what the focus was on. These days, Ghost attracts a much wider age range with a significant portion of their current fans being on the younger side, pre-teens and teenagers. That's fantastic actually, I am very happy that is the case and I welcome them all. However, being 30-ish myself, I simply don't enjoy things in the same way they do and I don't focus on the same things they do.
It's very easy to become jaded when that's the case because you start to feel like you're no longer part of the target audience, and that can be disheartening. I make a conscious effort to prevent that from becoming an issue for me because I love Ghost dearly. At its core, it is still the same band I fell in love with. TF is doing exactly the same thing he has always done, but now on a larger scale, obviously. It's not being transformed into anything it hasn't been before. It's a bit more commercialized, sure, but that's not a crime.
Basically, it's up to us to decide how we want to engage with what is being offered. You need to find a way of consuming Ghost in a way that is comfortable to you or else you may get disenchanted very fast.
At the risk of sounding like a giant dick, I will admit that I intentionally stay away from the fandom and don't follow anyone because.. man, it's actually impossible to say this without sounding like a dick.. because I don't see eye to eye with majority of other fans and it taints my experience if I see too much of what others are saying or doing. To reiterate the point I made earlier, it doesn't mean that others are doing anything wrong and I'm doing it right; no, we are simply doing it differently. I made peace with the fact that I can't control how others act and that's completely fine. I live in my own little Ghost bubble, which, although solitary, is a tranquil place. I decide what I want to see and what I want to share, and who I want to talk to and about what. That's my way of remaining levelheaded and keeping the thoughts you describe at bay.
Apologies for crafting a whole ass high school essay on this fine Friday evening.. if you know me you know that I think and talk a fucking lot, hehe. I don't even know if anything of what I said makes sense, probably not. If you're still reading, thank you and sorry!
Some excerpts from an interview with the director Alex Ross Perry from Rock Hard DE 4/2022 below. Huge thanks to lovely @rotteprinsen for sending me the scans, you’re the best 💖
What can you tell me about your top secret project for now, Alex?
We are producing an episode of a fully fictional TV show called “Metal Myths”. The series is designed to be part of the expanded Ghost universe, where it will air regularly according to the story we’ve come up with. Its episodes highlight the mythologies behind some of the most famous rock and metal bands. If “Metal Myths” really existed, there might be episodes about Kiss or Blue öyster Cult. In the only episode we’re actually filming, the complete backstory of Ghost is unravelled, spanning a period of several decades. We’re filming interviews with “experts” and “academics”, but also “critics” of the band. These may or may not be real-life personalities.
Did you come up with the idea for this project yourself?
No, the impetus came from the record company Loma Vista. They wanted to get something going that would capture the official Ghost backstory the way the videos do that have been recorded over time by fans of the band. There are countless clips on the internet that go into insane detail about Papa Emeritus, Papa Nihil, Sister Imperator and the other Ghost characters. That someone would take the trouble to produce such films in their spare time is simply incredible.
So we’re not talking about a serious documentary here, but a format known as a mockumentary.
On that one line in Darkness At The Heart Of My Love
“Paint a pair of eyes, let’s watch as it dries - I’m with you always”
I recently received a question asking if this particular lyric could have possibly been inspired by The Great Gatsby and the symbolic use of the eyes throughout the novel/film. While I don’t know if that was the case - devil only knows what goes on in TF’s mind - it’s probably one of the many possibilities. The eye is a powerful and prevalent symbol.
Personally I absolutely adore the line in question and how evocative and lyrical it is, it caught my attention right away and still does. Since it made such an impression on me, I decided to take a moment to gather some of my personal thoughts on it in the context of my interpretation of the song. The text will probably be very long and I’ll lose the plot halfway through as usual, but here it goes.
Re: the graphic novel, turns out Tobias did mention it indeed, thanks @cannot-copia
It's from MyRock March/April issue
After a parenthesis in the guise of Cardinal Copia, Impera celebrates the return of Papa Emeritus, in his fourth form. It is a bit confusing. Who is he? What happened to Cardinal Copia?
Simply put, Cardinal Copia is Papa Emeritus IV. In a way, he took power and became the new Papa, which is what differentiates him from his predecessors, he was not appointed but imposed himself. All your questions will be answered in a graphic novel that will be released soon and that will go back over this episode in the history of Ghost. We will also use other pictorial elements to tell new stories, something between a storyboard and a graphic novel.
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