I dont know where to begin with this post. I feel like there is a lot to talk about in regards to this album. One thing I will say before I begin is that what I have written here are my thoughts and feelings about Impera and dont necessarily reflect what Tobias or any of the contributors had in mind or intended. Therefore, disrespectful comments will not be tolerated. However, constructive conversations are more than welcome. I will also note that I have a separate section for each song, deliniated with the title of the song being discussed so if you want to skip to a certain song feel free to do so.
One last note: what you read here will make much more sense if you have listened to Impera. I tried not to over explain things to keep this post relatively short so bear that in mind as you continue reading. I would highly encourage you to go listen to it right now if you have not done so.
Kaisarion
The first song, Kaisarion, is probably the most overtly political song that has come from Ghost thus far. Even with that being said its still a little tongue in cheek and you have to pay attention because there is a lot coming at you very quickly. Since I was following the US tour, I first heard this song live like so many of us because thats what they opened the show with. It was an assault on my senses in the best way and I was immediatley hooked. Its got a super catchy quick beat that just sweeps you away and you love getting lost in the groove of it. After hearing it a couple of times, I started paying attention to the lyrics more and one that really stuck out to me, that was just like he is not holding back any punches with this one, was "its the noise of the righteous dogma that hides the handmaids tale." Oh dang! Every line in this song hits this hard and I thought, if this is any indication as to what the rest of the album is going to be like then we are in for an emotional roller coaster. Another line from this song that really strikes me is, "long ago yet too close to forever" which touches on the theme of cycles and history repeating itself that Tobias has mentioned about the rise and fall of empires, which he sites as the theme of this album.
There is a feminist theme in this song as well, both with the line mentioned above and the overall story being told in the song about how historically powerful women have been prosecuted and murdered just for being powerful women. The patriarchy is very threatened by womens power as evidenced in the story of Hypatia who was assaulted at the temple she was worshipping at for being a witch, which is code for being a woman who could be independent and think her own thoughts. There are also more general themes of discontent in this song; regrets, words unspoken, immoral actions, dishonesty all perpetrated in the name of ignorance and fear.
Musically, this song feels like a classic 80s hair metal banger and I've even heard people comparing the album as a whole to that genre, specifically citing Def Leopard as a big influence. It still manages to feel and sound like a Ghost song and is a brilliant opener for the album. It grabs your attention by the balls and says you better be ready for this.
Spillways
The upbeat piano that opens this song immediately made me think of Elton John but knowing Tobias' love for Queen that is probably a more likely reference. This song speaks to me of our own personal demons, our own ignorance and fear that lead us to do things that are not only harmful to others but to ourselves as well. We build up these walls of self preservation but they can only hold back so much if we refuse to examine the reason behind constructing them in the first place. Eventually our anxieties will spill over and spread out, reaching those around us who will reflect those anxieties back at us. "Its the cruel beast that you feed, its your burning yearning need to bleed through the spillways," is the recognition that comes from self reflection and seeing our own short comings in other people. We know when we do something wrong and there is a part of us that wants to do better, to be good people. We want to be empowered to control our own lives but we have been conditioned to blame anything and everything outside of ourselves instead.
"Faith, rage and pain, it aint over now:" despite the doubts in faith, despite the anger so many feel at all the hate made more blatant than ever through social media, despite the pain we feel from seeing people being needlessly brutalized and the fact that we are all very aware of how wrong and fucked up this is, it is nowhere near over. Just the same, our personal journeys of maturing emotionally and socially are also just beginning and with this comes a sense of hope but that hope is later on in the album. Right now we are dealing with the critcal mass of socio-political unrest that we are cresting upon and I feel that is what this song is addressing.
The upbeat feel of this song is an underlying clue that not all is lost. Its also a clever way to get people to pay attention, which certainly isnt the first time this tactic has been used, but it is repeated by countless artists because it is so effective.
Call Me Little Sunshine
This one is a bit of a harder read for me. It is interesting to note that smoking up is referenced in the music video and the accompanying artwork in the album booklet. The phrase, "call me little sunshine" is reportedly something Aleister Crowley said, who is also referenced in the cover image of the album. I've been trying to think how Crowley relates to the idea of empires, not knowing a whole lot about Crowley other than being a famous occultist. Tobias does not make artistic choices lightly so there is definite significance to this.
Is Tobias equating the character of Papa Emeritus with Crowley and if that is the case can we expect Papa to meet Crowleys same fate? I sincerely hope not but I have my suspicions that this may be the end for Popia/Papa IV once this album cycle is finished. Tobias has been hinting at some sort of deification/martyrhood of Papa IV by repeatedly striking a crucifiction pose at the end of each show on the Impera tour. Again, this is all just theory and we wont really know until the time comes because Tobias is notorious for keeping his plans close to the chest. Not that I am complaining, the anticipation is delicious.
This was the first official single from the album, though Hunters Moon would be found out to also be on this album even though it come out with the release of the Halloween Kills movie months before. This and Hunters Moon are also the only songs so far to have an offical music video to go along with them, lending some clues as to their meaning. I think the link to Crowley with the title of the song shows definite implcations of the devil, as Crowley was often refered to as such, and his occult leanings and controversy fit in parallel with that of Papa IV as his robes are the first to show common occult and ceremonial magic symbols.
This song requires that you sit with it a little bit, at least I had to. Its still a really interesting song that feels a little comforting but also a little ominous.
Hunters Moon
This song was the first new Ghost music I had heard in over a year so I was beyond excited for it. It coincided with the release of the Halloween Kills movie as its on the soundtrack to that film. The build up to the release of this song created quite a stir amongst Ghost fans online; we got teased with small video clips that were very cryptic and erie. They ended up being from the music video for Hunters Moon but it was real fun to see the live chat blow up with theories as to what they meant.
The song has a real good feel to it with one of the best most catchy guitar riffs I've ever heard. As a guitar player, jamming out to that riff is super fun. I can only imagine how Tobias felt after coming up with that chorus riff, he must have played that for the first time and thought, fuck thats an awesome riff, its so good. In interviews I've heard, Tobias had this song in mind when he was asked about contributing to the movie from producer Ryan Turek. He hadnt actually written the song yet but he had the idea for the song in his head and he knew it would work. It definitely works as a movie track but to be honest this feels like the odd song out on this album and maybe thats because it was first associated with Halloween Kills so its hard to see how it fits into the theme of Impera. One connection I can think to make is the franchise of the Halloween movies is kind of like its own empire but I could be reaching with that one.
Watcher In The Sky
This one comes in strong like a power ballad. I think I remember hearing somewhere that this song is a reference to Big Brother but I could be wrong on that. The lyrics are certainly talking about some sort of presence that is watching over us, whether that is Big Brother or a divine power or somehting else depends on who you ask. The first verse goes, "Evilutionary the optics for us to get answers as to why, we signal to another dimension that we stand here ready for reply." That is not a typo by the way, its supposed to be evil-utionary giving us the idea that whatever this force is that watches over us does not have our best interests in mind. This song also touches on the paradox of modern society that with cell phones, dash cams and regular public surveillance we have the potential for being watched and recorded at any time. However, we would like to believe that we maintain some degree of privacy and most of us dont like the idea of being filmed, at least not without our permission.
"Looking for the watcher in the sky" not only references us looking out for any potential threat it also is in regards to us looking for any potential savior which you see in the bridge verse, "For the light of our savior His machiavellian grace and in the sheene of his splendor there is a better place." We want the freedom and autonomy to dictate how to live our lives and to make our own decisions but as soon as we fuck up we look for an outside source, something/someone who is meant to protect us, to blame for why bad shit happens. This is why we are caught in this struggle of wanting to feel safe and protected without feeling controlled and manipulated.
"Communication is key" is both the answer and the problem. We are better able to communicate and connect with people than we ever have been in human history. However, we are lacking in the ability to understand each other, to truly communicate what we want and feel and need. Our technology is advancing at lightning speed but our emotional maturity to deal with the implications of that are being left in the dust. Ultimately, I think the message of this song is that nothing is what it seems and that we need to develop our critical thinking skills.
Twenties
I fucking love the orchestral opening to this song, definitely not something we have heard from Ghost before in this way. When I first heard this song I was a little bewildered because it sounded so different from your typical Ghost song while still sounding like a Ghost song. I heard a description of this song go something like, its Mummy Dust meets The Great Gatsby, and I could totally see that. The punctuations of orchestral music evoke visions of society during the 1920s, which is fitting given the title of the song. But then next to that you have the idea that this is satire about Donald Trump, which is blatantly reinforced with the line, "We'll be grabbing them all by the hoo-hahs" because who could forget that little gem spoken in sincerity by the former president. (Yikes!)
While I do enjoy the not so subtle mocking of Trump, this song also feels like a get-up-and-dance party song, which I'm pretty sure was the intent. Its definitely the heaviest song on the album, which lends to its comparison with Mummy Dust but it definitely stands out on its own in terms of Ghost songwriting. Before the album was released, Tobias mentioned in a few interviews that Impera was going to be more guitar riff heavy and this song is no exception. In fact, I think just about every song on the album has a catchy riff somewhere, the sort of thing that guitar players like myself love to lock on to. Learning these riffs is a great way to show your love for the band as well as hone your craft, but I digress.
This more than any other song, I am interested to see this one played live. Tobias has said that its meant to be a participatory song, with the audience shouting "Twenties" and being involved in it. I really dont see any problem with that happening and I think this song could become a fan favorite. I already know there are gosing to be 20's themed parties with this song blaring in the background. Please send me an invite, I will show up as Popia in a flapper dress, it will be great!
Darkness at the Heart of My Love
So, the thing I have heard about this one is how it deals with cult mind manipulation, much the same way Cirice did from Meliora. That is not what I got from this song at all but like I stated before, these are just my opinions and thoughts and are not necessarily what Tobias or any other contributors had in mind. To me, this song is more about the trauma and emotional baggage that we bring to any relationship regardless of what we may be seeking within that relationship.
Ok, re-edit! Going back through the lyrics I see how its rather culty and the clandestine nature of the meaning of the song is in keeping with most of this album. These songs, at first glance, appear to be about one thing but after further examination you find that there is more going on than meets the eye and ear. I think the emotional hit we get from initially hearing the music lulls us into feeling really good about these songs. There are lots of classic metal riffs and steady drum beats that make you feel secure when listening to it but if you stick around long enough to listen to the lyrics then you start to feel things that are more complex than head-banging appeal. This song is one of many really good examples of how a well written song can make you feel many things all at once, some things that are even contradictory.
The verses of this song make me feel one thing whereas the chorus makes me feel something else. In the first verse, we have "severing the ties, I'm with you always," which can be seen as the segregation of oneself from everything around you but you wont be alone because this "I" is with you. Then comes the line, "will you walk the line, my path serpentine?" So, whoever this "I" is is going to take you on a winding and confusing journey but "love is all you need" to keep you feeling secure and compliant. Then comes the chorus which shifts gears a little bit with an admittance of fault, creating a false sense of equal footing, which then gets smashed to pieces by the line, "and all this time you knew that I would put you through the darkness at the heart of my love for you." If that isnt victim blaming then I dont know what is.
The push/pull of this song is the slower pace, the romantic guitar and the distant melancholic choir that accompanies all these manipulative and insidious lyrics. To be honest, the first few times I heard this song it felt like a romantic relationship of some kind with the voice of the song saying, "Hey, I've been in some crazy relationships, I've seen some shit and I've done some shit, I will probably hurt you but that doesnt mean I dont love you." This is totally relatable and I think is where a lot of us are at when taking about relationships. The understanding being that past mistakes will not be repeated, there is genuine concern for the other persons wellfare, and effort will be made to correct bad habits. That is not how cults work. They are about control over others without regards for the other persons true happiness. What makes a cult so dangerous is that they see themselves as genuine. While I love this song for the possibility for compassion that if evoked in me I can also see the dangers of using love as manipulation and control in a cult context that this song seems to be addressing. Sorry if this seems a bit convoluted as I am trying to mash together my interpretation as well as what I have read online. At the end of the day, I love this song and will continue to listen to it. Messages of caution are just as important as messages of compassion.
Griftwood
Another juicy riff coming at ya and the way he says "yes" during the chorus has me going feral. With that out of the way, the satire of this song is easy to pick up on for anyone who would be listening to Ghost music. If its not apparent now that Tobias is not in favor of organized religion then you havent been paying attention. The song opens up with this, "Suffering for the lord is not an easy thing...so worth the debt." The way that people are willing to hate in the name of their god and how they think that makes them righteous is astounding. The debt in question here are the oppressed, those that are deemed other by the established religious power.
"You want to play with the sire, you want a view from the spire, you want a seat by the pyre, and never ever suffer again." The notion that there could be a world without suffering is a toxic mindset that encourages homogeny and stasis and goes against the very nature of the world as we know it. Not to mention, our growth and excitement comes from overcoming hardships and challenges, which woudnt exist in the Christian concept of heaven. That sounds maddeningly boring to me, hard pass! I would rather we work with each other despite differences because living in fear clearly isnt working.
The bridge is a really interesting part of this song, the beat changes tempo and we get a tinkling piano accompaniment creating a feel of reverence as we shift gears to the holy mother. "Holy mother you washeth the sin from my feet, holy mother you shine like the sun and the moon and the stars in the sky." Are we to find solace in a motherly figure rather than a fatherly one? No doubt this is colored by Tobias' relationship with his own mother, he has mentioned that he lived mostly with her and his brother growing up (his parents divorced when he was fairly young). He often credits his mother with encouraging his artistic and creative endeavors and you can see his respect for women in general repeated throughout his work.
SIDE NOTE: Tobias has picked three women from history and myth to write songs about: Elizabeth about Queen Bathory, Cirice and now Hypatia in Kaisarion. He has also commented on the unfortunate lack of women in the metal music industry but lets not get sidetracked.
This song is supposedly about Mike Pence and his not very subtle quest for power through the guise of morality. I'll be honest, I dont follow politics very well but anyone who uses their religion to try to control others has no business having any kind of decisive power. The fact that this song is called Griftwood speaks to the notion of church trying to pull a fast one not only the state but on its own followers as well. People like Pence want to posit that they are acting on behalf of the greater good when what they mean by greater good is themselves.
Respite On The Spitalfields
We reach the end of this journey and this song feels like an exhale after all the excitement we just went through. There is a sadness and exhaustion in this song that I feel in my bones, ..."did no one hear the distant thunder?" This line is a plea for some meaning to all the crap that has been going on. We must have seen this coming, why did we not do anything about it? You can hear in his voice the despair one cant help but feel in the face of tragedy.
The story of Jack The Ripper is used as an allegory for any event that shakes up a community and terrorizes its citizens in this song. Some modern examples are 9/11, the Trump presidency and the COVID pandemic. These events blindside us and shake up our sense of security and safety. But not all hope is lost as our clever storyteller offers up an optimistic lament, "We will break away together, I'll be the shadow you'll be the light. Nothing ever lasts forever, we will go softly into the night." The only way to pull through this is to work together and stop treating each other as the enemy. We are all connected, everything we do ripples out and affects everything else.
The feeling of this song is recognizing the hardships we have to endure and deciding that we will overcome them, that we wont let these things beat us into submission, that we will choose to not be afraid. We thought that everything was honkey dorey the way it was but we are being shown that its not and the only way things are going to change is if we do it ourselves WITH the cooperation of others. This is not a message for vigilantism, this is a message for community empowerment.
The song winds up with the same lamenting melody that opened the album thus completing the cycle, lather, rinse, repeat. The distant choir that has followed us on this journey sings us on our path onward not so much as a choir of reverence but one of empowerment. Ghost has used choirs in the past to evoke the same feelings one gets when having a spiritual experience, something removed from the listener but in this album it feels more like a riot of people ready and willing to fight for something that is very much within themselves.
One thing I've had to keep reminding myself of as I was writing this was that at the end of the day Ghost is an entertainment act, they dont take themselves too seriously and neither should we. By that I mean, not getting too caught up in hidden meanings or Tobias' true agenda because I think that would be missing the point. Like a lot of artists, he uses his art to touch on important subjects but also to entertain and amuse.
I hope you have enjoyed reading my thoughts on the Impera album and that its got you thinking a little bit more about it as well. I would love to hear any thoughts you may have about these songs as I am obsessed and need someone to fangirl with.
SIDE NOTE: I have a theory that Tobias may be killing off Papa IV at the end of this tour cycle as he has been ending recent shows in a crucified pose on stage and Tobias rarely does anything creative without some purpose, he also loves to tease fans with little easter eggs just to see who will catch on.
