The Art Of Darkness Pt. II: Infestissumam

After making a splash on the music scene with their debut album "Opus Eponymous" in 2010, as discussed in the first part of "The Art Of Darkness," Ghost quickly grabbed the attention of metal and rock enthusiasts with their unique mix of catchy melodies and occult themes. This album's success set the stage for their ambitious follow-up, "Infestissumam," which means "the most hostile" in Latin. Released on April 10, 2013, under the Loma Vista Recordings label, the album faced delays in several countries because some American CD manufacturers refused to print the CDs due to the deluxe edition cover depicting an orgy overseen by an inverted Christ on the cross. According to the band, it was "the vision of naked female bodies" that led to the boycott. Led by Papa Emeritus II and his Nameless Ghouls, the band ventured into bolder and more complex musical territory with this album. Unlike "Opus Eponymous," which had lighter production and a rawer feel, "Infestissumam" aimed for a richer, more elaborate sound, diving even deeper into satanic and anti-Christian themes. Around the same time, Ghost faced a naming issue in the United States and had to rebrand themselves as Ghost B.C., which could mean "Because Copyright" or "Before Christ." According to the band, there was no legal threat to change the name, but their label insisted on the change to avoid potential problems. They reverted to the name Ghost in July 2015, using Ghost B.C. only for the Infestissumam era.

The recording of "Infestissumam" took place in Nashville, Tennessee, with producer Nick Raskulinecz, known for his work with Foo Fighters and Alice in Chains. The production faced unique challenges, including finding a printer willing to produce the album due to its explicitly satanic content. Eventually, the band found a printer in Poland. The band admitted they were not entirely satisfied with the album's outcome and faced pressure to complete it. Additionally, the recording location was not ideal. If you're reading this, you've probably already listened to the album. You know that the band had to use choirs for some songs like "Year Zero." The band shared the difficulties of recording in Nashville: "Then we told them what they were supposed to sing, and one of the guys almost cried, he took offense; it was really weird ... So we ended up recording the choir in Hollywood, where people have no problem with worshipping the Devil."

Here is the original tracklist of the album:

- Infestissumam

- Per Aspera Ad Inferi

- Secular Haze

- Jigolo Har Megiddo

- Ghuleh / Zombie Queen

- Year Zero

- Body And Blood

- Idolatrine

- Depth Of Satan’s Eyes

- Monstrance Clock

We exclude "La Mantra Mori," a bonus track in the deluxe edition of the American edition.

For promotion, Ghost was inventive. In December 2012, the band created a website called "secularhaze.com," which streamed snippets of "Secular Haze" with a ticking clock. From there, everything happened quickly: the next day, Ghost released the song's audio on their YouTube channel (their first YouTube video). A fewNext comes "Secular Haze." This track stands out from all the others. If you play Ghost's entire discography to an unfamiliar person, they will probably remember this track for its uniqueness. The track has a carnival theme, which was not the band's original intent. It is said that if someone dies from cold, it is apparently one of the most pleasant deaths. The closer you get to the actual point of death, the warmer you suddenly feel, and the more you accept death, it seems overwhelming and quite comfortable. The song was meant to give the impression that the listener was in a rough sea, dying from cold. It is therefore very monotonous and stormy non-stop, while at the end, the listener enters this sort of acceptance part, which is the "come, rest forever" part at the end. The lyrics, like most of these songs, deal with the presence of a force recognized as evil, with hedonistic signs indicating that we are progressing towards a darker future.

The album continues with my favorite track, "Jigolo Har Megiddo." Let's be honest, musically the song doesn't invent anything special, a classic riff, a classic arrangement, and no introduction. The song introduces the son of Satan, a man prostituted in Megiddo. Megiddo was central in antiquity as it allowed all commercial traffic between Egypt and Arabia, among others. The Bible mentions this city several times; during the conquest of the Promised Land, Joshua conquered Megiddo, and Saint John in his apocalypse mentions Armageddon or Mount Megiddo as the place where kings gathered to wage war. The repeated phrase "I am the way" echoes the biblical reference to Jesus Christ, known for saying "I am the way, the truth, and the life." However, in this context, it is distorted to represent a path of sin and temptation. The album continues with its longest track, "Ghuleh / Zombie Queen." It is the only song on the album not recorded during the summer of 2011 and was composed solely by mastermind Tobias Forge. The song addresses several themes, including nostalgia, as the band said in an interview, "the music is the romanticized idea of a lost being or time. It is about nostalgia. The absence of time or a person or a being or something tends to blur the idea of what the real nature of that thing or person is."

Subsequently, Tobias and his team offer the album's most emblematic track, "Year Zero." Every band needs its signature track; if you mention "Metallica," you'll probably think of "Enter Sandman" or "Nothing Else Matters," or if you mention "Megadeth," you'll probably think of "Symphony of Destruction." Well, if you mention "Ghost" (assuming "Mary On A Cross" was just a nightmare and never existed), you might well think of "Year Zero" (and for the more dedicated fans, maybe even the video). This song is the most awarded on the album; it won the best rock and metal song at the 2013 Loudwire Music Awards, and Revolver Magazine considered it the seventh-best song of 2013 (all genres combined). The track, along with "Secular Haze," is the album's second single. The B-side of the single is "Orez Raey," or "Year Zero" backward, as some songs played backward supposedly have satanic or subliminal messages. Since "Year Zero" is already a satanic track, Ghost plays satire by making the backward song nonsensical. As for the video, you either saw the version on YouTube or another version elsewhere; if you're young, we advise against watching the latter. Let's move on to the lyrics analysis now. The track opens with choirs chanting (reciting?) incantations. Belial is the name given to Evil by Jews and Christians, later perceived as the opponent of God. Belial is one of the demons in the Apocalypse of Isaiah. Behemoth, on the other hand, is more of an uncontrollable large animal. Behemoth is often associated with Leviathan because of its marine form and creator of the original chaos. Beelzebub is the God of flies, a deity worshiped by the Philistines before becoming one of the princes of Hell. Asmodeus is the most evil of all; he is the prince of demons, the main antagonist in the Book of Tobit in the Bible, linked to lust, and affiliated with the construction of Solomon's Temple. "Year Zero" speaks of the birth and elevation of Satan, starting with the six greatest kings of Hell. The year zero never really existed in the Georgian or Julian years, so the choice of this title is free of imagination, notably the installation of Satan's supremacy in year 0, an alternative year to year 1, the birth of Christ. hours later, the band performed a concert in Sweden where they played songs from "Opus Eponymous." Instead of concluding with a song from "Opus Eponymous," they replaced Papa Emeritus I with Papa Emeritus II and performed "Secular Haze" live (later releasing the performance on YouTube) along with their cover of ABBA's "I'm A Marionette." Four days later, they revealed the tracklist and release period of "Infestissumam" on their official website. "Secular Haze" was offered for free to their fans, as was "Year Zero," released for free to promote their second album on March 12, 2013. On April 8, they also offered "Monstrance Clock" for free before releasing the full album to fans the next day.

Musically, "Infestissumam" stands out for its extensive use of choirs, organs, and orchestral arrangements, adding an almost cinematic dimension to the work. From the opening track, "Infestissumam," the tone is set with dark and majestic choirs that transport the listener into a black mass, setting the stage for the album's themes. Where "Deus Culpa" introduced "Opus Eponymous" with a beautiful organ, the band chose the choir to open their second album. Indeed, "Infestissumam," the first and only eponymous song by Ghost, begins with an enchanting melody of men reciting a sort of Latin prayer a cappella, which at first may seem Catholic but quickly reveals itself as Satanic, calling for the destruction of the Father, the Son, and the Holy Spirit to make way for the Antichrist. While Ghost concluded their first album with the birth of the Antichrist, "Infestissumam" shows itself as the direct sequel. This track is the first sign of their departure from Doom Metal towards something heavier. The band used this track to introduce their concerts during the Infestissumam era, giving it significant importance. The album continues its momentum with "Per Aspera Ad Inferi," smoothly transitioning from the first track. This song is significant with its introductory riff. If you know a bit of Latin, you probably recognize the phrase "Per Aspera Ad Astra," meaning "through hardships to the stars." Here, "Astra" is replaced with "Inferi," changing "to the stars" to "to Hell." The song addresses themes of temptation, desire, and a journey to Hell. The lyrics suggest an abandonment to base instincts and desires, indicated by words like "impious," "blasphemous," and "perverted." These words paint a picture of indulgence in thoughts and actions traditionally considered sinful or morally reprehensible. The repetition of "Per aspera ad inferi" reinforces the idea of an inevitable descent into darkness. The expression "bronzing under the rays of Lucifer" metaphorically represents basking in the glory of sin, embracing the warmth of temptation represented by Lucifer, the symbol of the devil. As Tobias Forge said, Ghost's songs are not centered on the Devil, Satan, or whatever, but on humans and their cruelties. The track is short but powerful and ends with bell sounds with a rather quick conclusion.

Next comes "Secular Haze." This track stands out from all the others. If you play Ghost's entire discography to an unfamiliar person, they will probably remember this track for its uniqueness. The track has a carnival theme, which was not the band's original intent. It is said that if someone dies from cold, it is apparently one of the most pleasant deaths. The closer you get to the actual point of death, the warmer you suddenly feel, and the more you accept death, it seems overwhelming and quite comfortable. The song was meant to give the impression that the listener was in a rough sea, dying from cold. It is therefore very monotonous and stormy non-stop, while at the end, the listener enters this sort of acceptance part, which is the "come, rest forever" part at the end. The lyrics, like most of these songs, deal with the presence of a force recognized as evil, with hedonistic signs indicating that we are progressing towards a darker future.

The album continues with my favorite track, "Jigolo Har Megiddo." Let's be honest, musically the song doesn't invent anything special, a classic riff, a classic arrangement, and no introduction. The song introduces the son of Satan, a man prostituted in Megiddo. Megiddo was central in antiquity as it allowed all commercial traffic between Egypt and Arabia, among others. The Bible mentions this city several times; during the conquest of the Promised Land, Joshua conquered Megiddo, and Saint John in his apocalypse mentions Armageddon or Mount Megiddo as the place where kings gathered to wage war. The repeated phrase "I am the way" echoes the biblical reference to Jesus Christ, known for saying "I am the way, the truth, and the life." However, in this context, it is distorted to represent a path of sin and temptation. The album continues with its longest track, "Ghuleh / Zombie Queen." It is the only song on the album not recorded during the summer of 2011 and was composed solely by mastermind Tobias Forge. The song addresses several themes, including nostalgia, as the band said in an interview, "the music is the romanticized idea of a lost being or time. It is about nostalgia. The absence of time or a person or a being or something tends to blur the idea of what the real nature of that thing or person is."

Subsequently, Tobias and his team offer the album's most emblematic track, "Year Zero." Every band needs its signature track; if you mention "Metallica," you'll probably think of "Enter Sandman" or "Nothing Else Matters," or if you mention "Megadeth," you'll probably think of "Symphony of Destruction." Well, if you mention "Ghost" (assuming "Mary On A Cross" was just a nightmare and never existed), you might well think of "Year Zero" (and for the more dedicated fans, maybe even the video). This song is the most awarded on the album; it won the best rock and metal song at the 2013 Loudwire Music Awards, and Revolver Magazine considered it the seventh-best song of 2013 (all genres combined). The track, along with "Secular Haze," is the album's second single. The B-side of the single is "Orez Raey," or "Year Zero" backward, as some songs played backward supposedly have satanic or subliminal messages. Since "Year Zero" is already a satanic track, Ghost plays satire by making the backward song nonsensical. As for the video, you either saw the version on YouTube or another version elsewhere; if you're young, we advise against watching the latter. Let's move on to the lyrics analysis now. The track opens with choirs chanting (reciting?) incantations. Belial is the name given to Evil by Jews and Christians, later perceived as the opponent of God. Belial is one of the demons in the Apocalypse of Isaiah. Behemoth, on the other hand, is more of an uncontrollable large animal. Behemoth is often associated with Leviathan because of its marine form and creator of the original chaos. Beelzebub is the God of flies, a deity worshiped by the Philistines before becoming one of the princes of Hell. Asmodeus is the most evil of all; he is the prince of demons, the main antagonist in the Book of Tobit in the Bible, linked to lust, and affiliated with the construction of Solomon's Temple. "Year Zero" speaks of the birth and elevation of Satan, starting with the six greatest kings of Hell. The year zero never really existed in the Georgian or Julian years, so the choice of this title is free of imagination, notably the installation of Satan's supremacy in year 0, an alternative year to year 1, the birth of Christ.

The album continues with "Body And Blood," a track relatively appreciated by fans. Musically, "Body and Blood" stands out with a catchy melody and an engaging rhythm, creating a striking contrast with its macabre lyrics. The track begins with an engaging guitar line and pervasive keyboards, adding a ceremonial ambiance to the song. The chorus is particularly memorable with its vocal harmonies and a seductive pop melody, demonstrating Ghost's ability to blend elements of classic rock with dark lyrical themes. The lyrics of "Body and Blood" play on the symbols of Christian communion, evoking the ritual consumption of the body and blood of Christ. However, in Ghost's context, these symbols are reversed to celebrate anti-Christian and satanic themes. For example, the chorus evokes ritual consumption in a way that parodies and subverts the traditional Christian rite. This inversion of sacred symbols is typical of Ghost's approach, which likes to shock and provoke through their lyrics and imagery.

The album then continues with the least popular track among fans, "Idolatrine." The very title, "Idolatrine," suggests a combination of "idolatry" and "latrine," implying a scathing critique of blind worship and corrupt religious practices. The riff of "Idolatrine" is sympathetic and very underrated; we could have skipped this track and kept the argument of "only the main tracks," but the lyrics are still interesting. The lyrics of "Idolatrine" harshly criticize blind devotion to idols and religious figures. Using provocative and often blasphemous imagery, Ghost highlights the hypocrisy and corruption of religious institutions. For example, the lyrics allude to religious rituals turned into acts of perverted worship, emphasizing the album's critique of organized religion. The album then transports us with "Depth Of Satan’s Eyes," one of the tracks with the least streams on Spotify and played only 33 times live. The final track on the album is "Monstrance Clock." A slow, powerful guitar riff and moody keyboards that create a ceremonial atmosphere open the song. The addition of rhythmic depth by the drums improves the composition as a whole. The keyboards stay in the forefront of the song, providing a deep and engrossing soundscape.

The chorus, which sings the lines "Come together, together as one / Come together for Lucifer's son," is one of the song's most repetitive and chant-like sections. The hypnotic effect of this repetition adds to the ritualistic, group-oriented feel of the song. You'll notice that, if you've listened to the live version on "Ceremony & Devotion," this is the song on which Tobias interacts with the crowd the most, asking them to repeat these lines, which heightens the feeling of an incantation. The album effectively ends with "Monstrance Clock," leaving listeners eager for the next release.

We didn't discuss the album reviews in the first section of "The Art Of Darkness," so let's get into them now. When "Infestissumam" was released, critics' reactions to it were not all that unanimous, indicating different perspectives on Ghost's musical choices. Many, however, saw the album as a daring and ambitious move forward for the group. For example, "Infestissumam" was praised as a "conceptual masterpiece" by Loudwire. The album's ability to combine pop, metal, and rock elements with thought-provoking and occult themes won praise from critics. They gave particular recognition to the intricate production and the use of choral and orchestral elements, which gave the music a more cinematic feel. However, some critics were more circumspect in their compliments. For example, Angry Metal Guy voiced concerns regarding the cohesiveness of the album, pointing out that certain tracks lacked the immediate impact of "Opus Eponymous" and felt haphazard. Longtime fans of Ghost were divided by the polished production and pop influences, which some saw as a divergence from Ghost's metal origins. A few reviewers also questioned the band's new musical choices, claiming that the record lacked consistency and depth at times. Some critiqued Ghost for emphasizing memorable choruses at the expense of the song's background elements; one such critique was that "Jigolo Har Megiddo" was "too simplistic." Even with the negative reviews, "Infestissumam" was a big commercial success. The album peaked at number one in Sweden's charts and made it into Finland and Norway's top ten. It made its debut in the US at number 28 on the Billboard 200, which is noteworthy for a band that is still relatively new. The popularity of the album was further enhanced by the success of the singles "Year Zero" and "Secular Haze." With its provocative video and demon-like chants, "Year Zero" cemented Ghost's reputation as a fearless and theatrical group. They started playing this song live all the time. For the most part, Ghost fans accepted "Infestissumam," in spite of the criticism. The audience responded favorably to the album's theatrical aspects and thought-provoking themes, which increased the band's devoted following. Ghost's continuous success can be attributed in large part to their ability to use music to create an immersive and ritualistic experience. To see that, we asked you your thoughts on the album, among MANY answers, here’s some: “best album 10/10” “I love all the songs” “I love this album, it’s just my favorite 10000/10" “Perfect, only perfect” “Great album, where the calssics come from “LIVE LAUGH LOVE MONSTRANCE CLOCK”” “My fav Era of Ghost and my fav songs” “2nd best Ghost album behind Prequelle“ “Underrated album, so many bangers” “The songs are the best vibe so far for me I miss having this type of songs and Papa II..” “Chef’s Kiss, God Work, 5 course 5 star dish, the best album ever created on this earth, thank you”

"Infestissumam" marks a turning point in Ghost's development. The band not only solidified their place on the global scene by daringly venturing into uncharted musical and thematic territory, but they also showed that they were capable of innovation and surprise. The album is still a powerful and influential piece of music because of its complex arrangements and bold themes. The album "Meliora" will be the subject of "The Art Of Darkness"'s upcoming chapter. "Meliora," which was released in 2015, signaled a new direction for Ghost's sound with its even more intricate production and stronger classic rock influences. Ghost's commercial success was solidified with this album, which also won praise from critics for its rich musical palette and thought-provoking lyrics. We'll see that the band's new musical directions on this album also led to some fan division.