Ghost Opera Review

artist: Kamelot date: 06/24/2009 category: compact discs
Kamelot: Ghost Opera
Release Date: Jun 5, 2007
Label: Steamhammer
Genres: Death Metal/Black Metal, Heavy Metal, Power Metal
Number Of Tracks: 11
Ghost Opera is simply one of the most diverse metallic listening experiences of the year, containing all of the melody, power, passion and crunch that have earned them the undying respect of metal-heads around the country and around the world.
 Sound: 9.4
 Lyrics: 8.4
 Overall Impression: 9
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reviews (5) 11 comments vote for this album:
overall: 9.3
Ghost Opera Reviewed by: unregistered, on june 28, 2007
6 of 8 people found this review helpful

Sound: I'm the one who reviewed Th Black Halo not long ago and now, well, it's time to review Kamelot's follow up to their best album to date and, to my opinion, the best metal album to date: The Black Halo. This is Ghost Opera, a melodic/gothic/progressive metal album. On this one, Kamelot have continued the dark and gothic path that they have started with The Black Halo and, honestly, they've done a decent job of making it creepy and horrofying. Thomas' guitar work is superb and very technical, and hard to figure out in some songs like Rule The World, Up Through The Ashes and Mourning Star. The biggest aspect of the sound is in fact, the sound, the actual recording of the album is so amazing and just as impressive as The Black Halo. Their producers Sasha Paeth and Miro are just so incredibly talented in the studio department. Excellent work guys, keep up the good work. // 10

Lyrics: What's to say about the lyrics, it's standard Kamelot work. They realy bring out the emotions and frights felt in the songs. Other than that I guess I'd have to type the songs' lyrics. If I'd have to name the songs that seperate themselves from the rest they would be; "Love You To Death", which they added a female voice to really bring out love felt in the songs' "story", and second would be "Anthem" which is a really sad ballad just like the last album's "Abandonned". The most noticable aspect on the lyrical work is the, once again, amazing singing and voice work done by the the best lead singer in the metal scene(that's my opinion), Roy Khan. His singing, once again, is excellent and even thought they've put some artificial voices here and there, he still improves on the way these voices are used and even when there aren't any artificial work, his natural voice just brings the songs to life and puts you in the mood of the songs. Unbelievable. // 9

Overall Impression: When they made The Black halo, they have done such a remarkable job that they've set their standards too high to surpass it, so that may be the reason why this album isn't an improvment over the last one, but it still is a very good album and should not be missed. Fans are sure to not be dissapointed with this one. Songs that are the most impressive on this album would be in first place: the title track, Ghost Opera, very impressive; second is Eden Echo; third, Rule The world; and the rest are all equal. What I liked about this album is that they tryed to do something different from what are used to and really succeded in actualy making it good, unlike other bands. The only problem I had with it is that the songs are kinda short. I would have liked them to be a bit longer. This is defenately an album that I will make sure that I don't lose it, but should it happen some day, I would probably go buy another one and if it gets stolen, I will personaly visit everyone I know, and one by one will tie them up and force them to tell me what happened to my CD. // 9

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overall: 9.3
Ghost Opera Reviewed by: Geldin, on june 24, 2009
5 of 5 people found this review helpful

Sound: I think the best way to do this would be to go song-by-song. I will point out right here that in comparison to the other albums of theirs I own, this one doesn't seem as guitar-heavy, but have no doubt that everything on this album lives up to The Black Halo. 01.Solitaire: this track is really just an extended intro. It features a solo violin leading directly into the first full track. 02.Rule The World: this song features the violin playing a little after the verse & chorus. The guitars enter heavily in an almost Metallica-esque rhythm. The solo is outstanding, if a little short. The lead-up to it and the rhythms after it are outstanding passages. 03.Ghost Opera: the title track lives up in every way to the first few seconds and every expectation I held for it. The symphonic element of the band takes a lead spot here, contributing lovely melodies (which are surprisingly metal) over a heavy guitar riff. The passage leading up to the solo preapres you for greatness and does not disappoint. The solo is one of my all-time favorites and really shows how tasteful a musician Thomas Youngblood really is. 04.The Human Stain: a guitar intro leads into a nifty little melody. I personally felt this song was a little lacking, probably because it followed a brilliant title track. The guitar work here is interesting, but it gets repetetive. 05.Blucher: the 'u' ought to have an umlaut over it, but I can't write that in. The first minute is devoted to what sounds like German dialouge in an airplane. The riffage in this song is interesting and well done. 06.Love You To Death: this is the second-softest song on the album. It tells the story of a romance torn asunder by an untimely death. The guitars take a backseat, leaving keyboardist Oliver Palotai to form lovely melodies over a steady, soft drum pulse. Also featured is Amanda Sommerville as the female vocals, 07.Up Through the Ashes: this song is one of the best on here, I think. The intro prepares the listener for the almost hateful singing Roy Khan injects into the song. As always, nothing here is lacking in the least; this band is one of the strongest I've ever heard. 08.Mourning Star: I don't know why, but I never listened to this song much. It is a good track (as if I expected a bad one at this point). A Gregorian chant leads directly into guitar riffage and symphonic melodies all over the place. The singing is above-par once again. 09.Silence of the Darkness: another track that has few listens from me. In lieu of a guitar solo, this one features a great keyboard solo following two-and-a-half minutes of solid power metal. Overall, a good track, if a little forgettable. 10.Anthem: this track is the lightest and softest on the album. Overall, a good track, but I think in comparison to the fast riffs from the last track, it seems too long to me. 11.Eden Echo: The closing track is excellent in every sense of the word. It begins powerfully and never lets the listener's attention stray. The piano interlude towards the end is just right. An excellent way to end the album. // 9

Lyrics: Here is something I rarely encounter: Roy Khan is a capable, operatic singer in metal. Let that sink in: a male opera singer in a metal band. If you've listened to their earlier albums, he is perfectly in tune here almost without flaw. The only weak point in his singing is on Anthem - there are some notes that should be left to sopranos. Speaking of which, the guest singers, Amanda Sommerville and Simone Simons (of Epica), are perfectly suited for their roles and are flawless as far as I can tell. The lyrics range from the power-hungry anthemic words in Rule the World to Biblical themes in Up Through the Ashes to a wounded romance in Love You to Death. // 9

Overall Impression: The Black Halo set the bar very high for Kamelot's next album. Ghost Opera cleared that bar and left it in place for the next challenger. As power metal goes, these guys are among the best in the genre, hands down. The first two full tracks really set the mood and leave the listener anticipating more great tracks, and at no time will one be disappointed. If I lost my CD, I wouldn't worry greatly because I have a digital copy, but I think the guy who took it would suffer a little (more likely a lot). // 10

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overall: 8.7
Ghost Opera Reviewed by: Metorical, on june 11, 2009
2 of 2 people found this review helpful

Sound: Ghost Opera' might not be the most diverse album, in terms of musical direction and the overall sound of each song. However, that is because it doesn't have to be; Kamelot have come up with their sound for this album and they plan on sticking with it. They develop upon it across multiple songs while never really branching out in new musical directions (with a few exceptions). Let it be known, though, that the album doesn't suffer because of it. With the opener Solitaire', we are treated to a relaxing violin instrumental, backed with ominous synth-strings. Slowly it builds to a slight crescendo, which flows smoothly into the next track, Rule the World'. Here you can find what to expect throughout the album: heavy and driving guitars, perfectly utilized orchestral backgrounds, powerful vocals from Khan, and drums that, while never really managing to stand out on their own, do compliment the other instruments nicely. The album is littered with tremendous riffs and soaring choruses, which leads to a truly amazing listening experience. Some of the most interesting riffs on the album can be found in Rule the World', Blucher', Love You to Death', and Up Through the Ashes'. There are very few songs that can be considered mediocre' on this album, and those that seem like they might be dipping towards mediocrity are saved by a few great riffs or an interesting twist. The album does seem to sag near the end, most notably with the ballad Anthem, which although serves as a break from the sound of the rest of the album, never seems to live up to its potential. // 9

Lyrics: The lyrics are where the album suffers the most, although they are most certainly not bad, which I think is a testament to the strength of this album. They may not be the most compelling lyrics to ever be sung on a record, but they do provide good stories for each song. The lyrics cover a wide range of subjects, none of which seem very happy or uplifting: isolation, insanity, death, the prospect of lost love, the long, hard journey of life; the list goes on. The reason these lyrics fit the album so nicely rests on the shoulders of one man. The lead singer, Roy Khan, has a compelling voice that fits the music perfectly. He does a spectacular job on this album, as do guest vocalists Simone Simons (of Epica) and Amanda Somerville, who sing on a few songs each. The vocals help set the mood of the album, and never once do they hold a song back from reaching it's full potential. // 8

Overall Impression: This was the first Kamelot album I ever heard, as I tend to not like Symphonic Metal bands. That stands true to this day. This album, however, is spectacular. It is one of only a few symphonic albums that I like to listen to. Everything seems to flow together smoothly and there are minimal complaints. Perhaps the biggest setback of this album is the length of the songs themselves. They all seem to end much too quickly, and I believe there are multiple songs that could have been built upon to make them even better. Aside from that, this is a most enjoyable listen. Perhaps the finest songs on the album are Rule the World', Ghost Opera', Love You to Death', and Up Through the Ashes'. There are no songs that should be skipped as each one seems to hold something special, though some are less special' than others (I'm looking at you, Anthem). If you can get past the similarities between the songs, the short lengths, and the less-than-spectacular lyrics, you'll find yourself a tremendous offering from Kamelot, one that might not live up to the exceptional work of art that The Black Halo' was, but still manages to be one of the (if not THE) finest symphonic metal albums of 2007. // 9

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overall: 10
Ghost Opera Reviewed by: Kamelot_Fan, on june 10, 2008
1 of 1 people found this review helpful

Sound: Sound in this album is very melodic. It has distortion and clean guitars (which are great), good bass, technically great drums and on the top of the list very clean vocals by Roy Khan. There is more sinfonic instruments in this album than in older albums of Kamelot. So this is like melodic symphonic power metal. I think that this album is maybe best album made by Kamelot because of its symphonic sounds and maybe all in it. // 10

Lyrics: Lyrics of this album are sometimes pretty dark, example in love you to death. But lyrics are very good and they are well sang. Lyrics also fit in music very great, so there is one more reason to like this album. Singer, Roy Khan, is skilled clean vocalist who is able to sing high and low. // 10

Overall Impression: I think that no albums by other artists are compared to this. I don't know any albums by other artists with the same sound and singing style. Best songs of the album are The Ghost Opera because of it's sound and lyrics (check the video from youtube) and The Human Stain (also in youtube) I love everything about it but there is one think I hate in it. It ends. If somebody would steal it (hope that not) I would go straight to the closest music store and buy it again. // 10

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overall: 7.3
Ghost Opera Reviewed by: MCRkid22, on november 17, 2008
1 of 4 people found this review helpful

Sound: When I first heard about Kamelot through Pandora (an internet-radio website, comparable to, I thought there had been some sort of mistake: This just sounded far too amazing, and there was no way that the band I wanted to be in was already out there! And yet, it was, and though I'm probably the last to hear about these guys, I feel that this CD deserves a review. If you're a fan of music, above the seemingly standard "metalhead" fan base, and you have a healthy respect and admiration even for orchestral music as well as heavy music, then this band is for you. Violins symbiotically harmonizing with heavy guitars and stadium rock vocals, with a drummer that challenges Neal Pert make this band something truly amazing. This album demonstrates the diversity of the band, showcasing their orchestral roots, and ability to mash classical strings with pinch-harmonic guitars. Each track has a lot to offer to the overall album feel, and while they all share the same sound and feel, they are each different, and bring something unique to the listening experience. 01.Solitaire: Solitaire is the introductory song to the album. It hosts some excellently melodic violins in the beginning, with synth keys in the background, that give the song an overall beautiful aesthetic. It's a short, yet beautiful track, that leads directly into: 02.Rule the World: Rule the World is the only track that sounds like it has slightly main-stream qualities to it. The song is heavily guitar driven by a Metallica-esque riff that mixes well with the tasteful repetitive toms in the background. The chorus has some excellent vocals that captivate the listener, and there's a nice key change in the song that has a very nice Steve Vai feel to it, but the best part of this song is definitely the chorus and it's larger-than-life vocals. 03.Ghost Opera: so now we come to the albums namesake, and what could possibly be considered the album's "single". This is the first track I heard from Kamelot that drove me to listen to them in the first place. It has some very nice timings in the beginning, going from a direct 3/4 into a 6/8 and 5/4 trade off, leading in the 4/4 verse. The song definitely has an 'epic' feel to it, but the lyrics are very weak, which is why it's good that the music is so fantastic. A lot of chugging in this song, with some atypical drum work, the strings doing something very subtle, yet very beautiful in the background. The most noticeable and pleasurable part of this song would have to be the intro into the verse. Not the best song, but a very good one. 04.The Human Stain: starting off with an Industrial feel, this bass-driven masterpeice quickly gives way to it's classical roots with a piano-initiated verse. It almost reminds me of Muse at some parts. It's a very busy song with repetitive, but enjoyable segments, and an ever-present choir in the chorus that really makes the song. The guitars are not as present in this song, and the drums aren't doing anything really noticable, but it's an overall ok song. 05.Blcher: one of the albums darker songs, starting out with an audio feed of what appears to be a busy aircraft carrier, then going into a guitar driven intro. The verse is confusing tonally, as the music is doing some strange minor key riff that the vocals don't seem to match. The chorus is beautiful and deadly, but I could do without the verses. One of the weaker songs on the album, with a lot of experimenting on a voicebox. The chorus makes it worth it, but just barely. 06.Love You to Death: from the moment it starts off, this song draws you in. It actually reminds me a lot of the intro from Dead or Alive, by Bon Jovi. It stays pretty captivating, with some very interesting synth, and a female guest vocalist. This is one of the most orchestral songs on the album, with very prominent vocals. You don't see the chorus coming at all. It's characteristically a very good chorus, very "big", and beautiful with a nice key change. The lyrics are strongest here, and they tell a story, which is a nice additive. It has a beautiful acoustic/violin segment with the talented guest vocalist, which quickly follows with a simple, yet superb guitar solo that eventually goes into Iron Maiden style dual-guitars. 07.Up Through the Ashes: another excellent showcase of the violin/guitar mashup! The vocals are very tame here, but also very strong in the song. Once again, the chorus is amazing, with a choir in the background supporting the already stellar voice of vocalist Roy Kahn. The song stays melodically-brutal throughout, and ends with a fantastic guitar peice. 08.Mourning Star: despite the cliche title, this song does not fail to deliver, starting off with a beautiful synth intro with a male choir, remniscent of Gregorian chanters. The song quickly changes styles, with very distorted vocals, and iconic chugging guitars. The chorus once again features a guest vocalist, and a female choir. A good song off the album, but not the best. 09. Silence of the Darkness:starting off with a very familiar sounding guitar riff, this song is one of the more style-esque songs, with a hook around every corner. It keeps your interest with a very interesting riff, and vocals you won't forget. The chorus is sadly slightly boring, and not as good as the rest of the song, but the versus are a good listen. There's a part that sounds like The Doors on drugs... Well, The Doors on stronger drugs than the ones they were already on. A strange clashup of decade-old riffs, and modern guitar sound. 10.Anthem: every generic band needs to have at least one song on their album that is considered gorgeous, and Anthem could fit into whatever film you choose. This piano-driven song is nothing short of beautiful, with the vocals and lyrics fitting in absolutely perfectly. A lot of synth and chimes in this song, which gives it a very uplifting feel while keeping it 'pretty'. My only complaint: It's a tad too long, and gets old a little quickly. 11.Edenecho: edenecho gives you a nice and expected transition from Anthem, making it not as heavy as the rest, but still pretty heavy, and not as melodic as Anthem, but still more melodic than the others. It's one of the more diverse songs on the album, with a more definite Muse feel to it. A nice addition to the album, and a great ending to a great ride. // 9

Lyrics: Sadly, the lyrics are not as up to par with the music, but that can be ignored simply by listening to the overall sound of the singer with the band. It's a perfect fit, beautiful and sonorous, yet deadly and delivering. The lyrics often focus on the nature of human emotion, and the way that it can seem to manipulate the afflicted person's world, in positive and negative ways alike, although they have been known to center themselves around apocalyptic themes, and forgiveness for some ultimate crime. // 6

Overall Impression: Great album. Not the best one out there that features both an orchestra and a heavy metal guitarist, but definitely a great album. The songs are catchy, and beautiful, while being different enough to capture the attention of all who hear. It's got a little something for everyone, and that's what I love about this band; They're not afraid to use a violin in a metal song. Worth buying if you're into slightly more complicated music, but it's hard to listen to if you don't like classical music in any shape or form. I love how it can be melodic and heavy at the same time, but I'm not a fan of the fact that no song sticks out in general as a "favorite", and every song, although great, seems to have a flaw at some point, or at least something that I'd prefer not be there. Not really an impressive album, as far as guitar playing goes, but an overall good experiance. // 7

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