#I started drawing Lucifer in November wtf

[lunaslemons]

A while ago I started drawing these RAD portraits things of my headcannon designs of the obey me characters and I recently started to finish drawing them again so here’s the older brothers

[cardinalcamembert]

Descriptions of songs from Prequelle

So I found a french article with some pretty in depth descriptions of the new songs and made a rough translation in case anyone is interested.

I left out "Rats" because we've already fkn heard that one so... Translation notes in [ ]. I tried to stick as close to the original as possible, so some bits are weird.

“Ashes”: “The first glimpse of the medieval world illustrated on the cover. Children sing a tradional nursery rhyme from the time of the plague, comprising the familiar melody presented in “spöksonat” on Meliora. Partially inspired by the intro of “Black Celebration” by Depeche Mode.”

It’s an introductory title where one, indeed, hears children singing a nursery rhyme before the arrival of sombre guitar chords and a synthetic organ [the instrument, you filthy bastards] lead. One plunges immediately into the universe of ghost with this little call back to Meliora on piano, in the form of a “passage de témoin” [lit. supporting passage. Pretty sure it’s a bridge or some such]. “Faith”: “A beast, agitated and grating, with small touches of the neo-classical. The meeting of Tony Iommi and Shostakovich. Despite the devastating guitars, it still kicks off an enormous and exhilarating harmonious refrain!” Starting with a neo-classic-ish lead rhythm through punching drums. Followed by couplets of riffs, heavy and cutting. But it’s only to better clear the way and create contrast in a very melodic and ecstatic refrain. Ghost navigates, as usual, between the shadows and the light. A break that takes back the refrain in a “diabolical” way adds theatricality to the title. “See The Light”: “Like a wolf in sheep’s clothing (understand: a rock title disguised as a ballad). This is the “Unforgiven” of this album. A vibrant hymn for the oppressed.” Of a softness marked the couplets, with supple drums, as well as piano. Once again Ghost puts on the contrasts, as the refrain simultaneously imposes itself with full force, very luminous: the “drink me, eat me, then you see the light” chanting could not be more fitting as it is dressed in vocal harmonies - one imagines also a live distribution of wine and hosts [communion, bitches] to the spectators to back the lyrics. The break is here held up by a synthesizer lead, joined by the guitar in harmony. “Miasma”: “The first instrumental price of the album, wanting to illustrate a fog of pestilence sweeping the countryside. It’s reminiscent of the BO’s of Goblin, Vangelis and Queen [No idea what a BO is]. A melodic, triumphant theme that finally leaves room for a veritable ‘battery of solos’ culminating with the ultimate reward: sax!” It is effectively not one, but two instrumentals that the album has to offer, and this is the first. Lead by a piano lead and the harmonisations of guitar and bass, as the rhythmic guitar and the drums take care of setting up solid and intelligible foundations. After the middle bit, it goes wild and progressively gains in intensity to end with a succession of singing solos: guitar, piano and a rock saxophone, very “eighties”, in the manner of Sexy Sax Man! “Danse Macabre”: “Neon tubes, disco balls and sexy trousers. ‘Danse Macabre’ is the sound of your favourite hard rock group in 1978, being brave enough to compose a big, successful, disco number. Channelling Kiss, Boston, and Fleetwood Mac, the refrain is pure euphoria! Also, in the refrain, is he singing ‘be with you’ or ‘bewitch you’? Up to you to decide…” A big box that marks the time over a very hard rock riff, for a title that puts out all over the rhythmic and melodic drive [this whole sentence is a mess what are they even trying to say?]. One noticed the touches of glam in “Rats”, there they are not very obvious, we plunge this time directly into the start of the eighties with a refrain that is insistent and very dancing (an intersection like “I Was Made For Loving You” by Kiss and the first two albums from Bon Jovi), its vocal treatment, its solo, its rhythmic gimmicks… it’s all there to be believed. “Just wanna be, wanna be with you in the moonlight. Just wanna be, I wanna be with you all night…” “Pro Memoria”: “A cinematic point of view on mortality. The piece starts with a broad string passage and following puts itself in a groove that brings to mind Led Zeppelin’s ‘No Quarter’. Inspired by Elton John, GNR, The Doors, and The Boss…” The strings gives an immediate orchestral dimension (that one finds developing into a dreamlike finale), to tie together a delicate song, with a light wrinkle marking the time, the piano, the organ [INSTRUMENT]… Ghost brings us back to pop sounds that are a bit “flower power”, in the close spirit of “He Is”. The refrain imposes itself like a repeated leitmotif that wants to make sure the title progresses in a relatively linear way, sweet in melody, gloomy in it’s words: “Don’t you forget about dying, don’t you forget about your friend death, don’t you forget that you will die” (and the usual references to Lucifer). To finish in the choirs of a church at the bottom of the organ [instrument] “Witch Image”: “Written the morning of Tom Petty’s death (really!). Driven by a twisted AOR[wtf?] refrain and another harmonic guitar break that draws tears to the eyes” There is still some lightness and pain in this title, reinforced by the sound of a flute/mellotron and the vocal melody full of sensitivity. The guitars aren’t any less present, in discrete arpeggios on the couplets or electrics to give intensity to the refrains and at the solo part, but always entirely devoted to the melody. “Helvetesfönster”: “Literally translating to ‘Windows to Hell’. Inspired by the Nordic folk tradition with its Pink Floyd and Mike Oldfield elements. The piece is in a vice between two magnificent and desolated melodies. A kind of band sound for the Nordic lights” Second instrumental that drives us directly into the prog rock of the seventies. There is clearly some Arjen Lucassen (Ayreon) in the feel of this piece with its more languid tempo, with its notable flute, its harmonic progressions, its endlessly evolving structure, with breaks for piano and synthesizer. One finds a folky lull as a finale, and generally a pretty cinematic side. One sees that if all the sung pieces by Ghost have used immediacy and simplicity with the goal of making powerful hits, it benefits from instrumentals to develop its creative passions. “Life Eternal”: ”The ultimate gothic love song - ‘Dracula’ filmed inside of a snowglobe. ‘Life Eternal’ is everything you love about power ballads distilled into a single song. ‘Dream on’ November Rain’ ‘Alone’, the many changes in tone and dynamic turn in a capsule of three minutes!” One finishes gracefully and delicately with this song that slowly gains in scale to take on the role of the albums cathartic finale (serving, in this regard, the same goal as “Monstrance Clock” on Infestissumam), in particular while featuring the repeated choir lyric “forever”, only until Tobias Forge concludes: “If you had life eternal…” Original is here: http://www.radiometal.com/article/ghost-dans-les-pas-du-cardinal,297391