Earlier this year, Sebastian ‘Sushi’ Beisler stepped aside from Eskimo Callboy to go solo. He may have been just as astonished as everyone else was at the viral success of the band’s single ‘Hypa Hypa’, which was given a seal of approval by people who you thought would know better.
And just as Sushi brings out his self-titled debut solo album under the new moniker Ghøstkid, he may be cursing his luck further. Bring Me The Horizon have just released a new EP which everyone is talking about, while much of this sounds like it’s still catching up with their 2015 LP, ‘That’s The Sprit’.
It’s not all bad, though. ‘FØØL’ is very much a solid, catchy contemporary rock song. Even if you know which hymn sheet it sings from within a few seconds, this is a memorable song that will no doubt stick in your brain.
But a song about how you want to “start a fight” generally doesn’t sit well, with the incredibly processed-sounding production being particularly noticeable. Even in spite of offering some hooks and toe-tapping grooves, it’s a basic imitation of what bands like Bring Me The Horizon and Fever 333 are already doing.
‘SHARKS’ and ‘DRTY’ continue to sum everything up. They’re not necessarily bad songs, but they are very hackneyed; the latter of the two features a drop that feels particularly dated already.
‘THIS IS NØT HØLLYWØØD’ (øh, Twenty Øne Piløts, sø much tø answer før) is the weakest point, though. It’s a grating number that talks about the trappings of fame but doesn’t leave you feeling sympathetic, with another generic chorus to boot. On top of this, Timi Hendrix‘s guest verse is so pathetically undercooked, not only pausing for random sound effects to appear, but also lazily repeating words that nearly rhyme with each other.
And for ‘SUPERNØVA’, there’s clear anger on show, and the verses are as sonically heavy as the album gets. Unfortunately, the chorus drags it down, sounding comparatively generic and flat.
Stripped-down ballad ‘CØLD WØRLD’ is unexpectedly one of the better cuts, free of the over-production and bluster that permeates much of the other songs, and some decent synth-led soundscapes take place in ‘ZERØ’.
But one move that sums up the general lack of afterthought is this. ‘THIS IS NØT HØLLYWØØD’ appears once again at the end of the album. No, it’s not a short reprise, nor a re-imagining; it’s literally the same song but with a different guest vocalist. The utter pointlessness of this decision clearly speaks for itself.
There are definitely some pointers in the right direction for the future, and this style clearly suits him better than Eskimo Callboy, but Ghøstkid‘s debut offering is unfortunately as surface-level as it comes, from the musical canvas to the lyrics.