After abruptly leaving Electric Callboy in 2020 after ten years, Sebastian “Sushi” Biesler wasted no time forming Ghøstkid, a project leaning far more into the darker side of nu metal.
“The biggest problem that art has nowadays is that it doesn’t hurt anymore,” said Biesler, now several years on from Ghøstkid’s debut self-titled album and on top of having been through the pandemic, having birthed anew the sophomore record. “Especially here in Germany, people are so afraid to push boundaries, to make art that makes you think and feel.”
The title track, fittingly starts the album off. Described as a snapshot of an artist finding themselves, the song begins with some highly inspired Linkin Park-esque synths before launching straight into this grimy nu-metalcore verse. With Biesler barking down the mic, the energy is palpable, as you can envision the waves of jumping crowds to the rhythm. As the chorus chimes in with cleans, the influences are made even more clear from the likes of Bring Me The Horizon, Motionless in White and Bad Omens.
Bringing back this old nu-metal sound that’s been so popular in recent times, Ghøstkid combines it with more contemporary Metalcore styles and formulas. Whilst the sound isn’t wholly original, their use of grimy instrumentals and groove in the main verses on the opening track enables them to leave their own mark on the scene.
It is within the song “Heavy Rain” that “Sushi” is able to truly flex his vocals, adopting more of a slower, reserved technique similar to the likes of Noah Sebastian (Bad Omens). Ghøstkid are able to show a whole different side to the band than what had been on display previously. Once the outfit launched into the chorus it’s clear that this could be for the band what “Just Pretend” was for Bad Omens.
That mix of earworm catchy lyrics alongside the aforementioned range on Biesler’s voice creates a hit that every band is clamouring to make these days.
It is within the penultimate track “DAHLIA” that the band truly hit their full stride. Utilising the best of the two distinct heavier and clean sounds together for most bands would have been messy and stilted. For Ghøstkid, however, the sounds effortlessly flow into each other.
The choruses make the heavier sections feel somehow heavier in contrast, making it hit just that bit harder, ensuring chaos on the live circuit.
If anything, once the band reach the climax of the song, it feels as if “DAHLIA” should be the final track, as the band jam away together at the end. There’s a sense of completion before “Helena Drive ” abruptly kicks in. If there’s anything to criticise the album for, it’s that the final two songs sound like they should switch places.
Hollywood Suicide (Century Media Records) is undoubtedly a leap forward from the band’s self-titled project. When the group go all in on a song, there is a real chemistry and spark to their sound. Whilst ultimately Biesler’s bombast regarding the album doesn’t quite reach the mark of what he said, it’s close. All Ghøstkid need to do now is hone in on what makes Hollywood Suicide tick, and album three will push up the band into the stratosphere among their peers Bring Me The Horizon, et al.
Buy the album here:
https://www.ghost-kid.de/
7 / 10
CHARLIE HILL