Album Review: Ghøstkid – Hollywood Suicide (Century Media Records)

The rise and rise of Ghøstkid has been nothing short of phenomenal, and now the alternative metal band return with their most provocative release yet. Called ‘Hollywood Suicide’, it will be released on March 22nd, 2024, via Century Media Records.

There’s no creative line that Ghøstkid aren’t willing to cross, no emotion that they aren’t willing explore, and no fear of what the response to their music will be. It’s simple really, Ghøstkid say they are doing exactly what they want in the way they want to, and prove it unequivocally. It might result in polarising music, but it’s music that everyone inevitably takes note of. Especially because so much of it is so anthemic.

Featuring garish electronica, nu-infusions, bouncy post-hardcore energy, and a dramatic chorus, the title track sets the album expectations high as vocalist and agent provocateur Sebastian ‘Sushi’ Biesler lets rip. Something that happens throughout the album, revealing more and more dark emotion behind the words.

It’s what is particularly prevalent in S3X, as musically, Ghøstkid spreads their wings and soar into more mood-altering worlds. Whereas FSU is fast-paced carnage, tinged with some serious abrasiveness, but with that inherent Ghøstkid anthemic quality. Especially when the chorus hits, something that will delight those who enjoy a good singalong.

The entire album features heavy emotion, that much should be clear already, but there may not be anything as wrought as Heavy Rain. The Ghøstkid passion oozes from this track and Biesler’s vocals are both pained and powerful. The screams at the end will send chills down your spine.

It’s tough ask for Ghøstkid to follow that, but structurally, this album is very clever as Valerie is a short, darkly melodic, and effects-driven piece. Tonally different from what came before, it refreshes the palette, ready to take on the rest of the album with a fresh mind. It’s one of the more ‘extreme’ examples of the electronica Ghøstkid use.

How about Black Cloud and Ugly for delivering emphatic statements though? With the former, Ghøstkid build up the intensity, unleashing a cacophony of heaviness that sends the body in spasm. Whereas the latter takes a more measured approach, but still sounds impressively dense. It’s at this stage that just how immersive the album is, becomes quite clear. Though both tracks having banging choruses shouldn’t be ignored in any way either.

Bløød is all about speed, even with its cleaner parts, and Ghøstkid unleash some serious carnage here. Whereas Murder (feat. Inhuman) is both sinister and weird sounding, the electronica having a more industrialised sound, and Dhalia brings forth some of the biggest sounds so far, almost epic to some degree. That Ghøstkid passion evident all the way through these tracks, and you can tell a lot of blood, sweat, and tears were poured into it.

The end? It comes in the form of Helena Drive and the album’s ‘poppiest’ effort overall. Take that anyway you want, but be assured it’s a wonderfully catchy effort that shows depth can come in so many different forms for Ghøstkid. Hell, the entire album proves that.

Ghøstkid – Hollywood Suicide Track Listing:

1. Hollywood Suicide
2. S3X
3. FSU
4. Heavy Rain
5. Valerie
6. Black Cloud
7. Ugly
8. Bløød
9. Murder (Feat. Inhuman)
10. Dahlia
11. Helena Drive

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