News 18th Studio Album discussion

I definitely wouldn´t like Bruces voice to be as brutally autotuned as Tobias´ on Skeletá.
I can´t really liten to Skeletá because of such heavy presence of autotune.
 
Google gave me this explanation about the vocals and pitch correction on Skeleta.

Personally, the thought of Auto-Tune never even crossed my mind while listening to the album. I've never considered Tobias Forge to be an exceptional vocalist anyway, so I have no problem with the "let's make me sound better than I actually am on the record" approach.

Yes, the album may be very carefully crafted, but they did it tastefully and with restraint. To my ears, it serves the songs rather than calling attention to itself, and I applaud them for getting it right.

"Tobias Forge’s vocals on the album Skeleta do not feature heavy, robotic pitch correction, but they are subject to careful studio processing. [1, 2]
  • Pitch Correction: Audio analysis from the r/GhostBand community notes that Forge relies on subtle pitch correction software to ensure his intonation is dead-on and perfectly aligned. The algorithm's transitions are kept slow to maintain a transparent, natural sound, and it is estimated that about 20-30% of the lead vocals remain completely untouched. [1]
  • Vocal Layering: The primary reason the vocals sound pristine and "larger than life" is extensive voice-layering and tight harmonies, rather than auto-tune. The vocal style is also more intimate compared to previous theatrical eras. [1, 2, 3]
  • Live Performances: Forge balances these studio techniques with strong live singing during the Skeletour, utilizing raw, belted out vocals on ballads like Guiding Lights. [1]"
 
Azas said:
  • Live Performances: Forge balances these studio techniques with strong live singing during the Skeletour, utilizing raw, belted out vocals on ballads like Guiding Lights. [1]"
Click to expand...
This point is pretty funny as, whilst I think Tobias' live vocals are good, they have never played Guiding Lights live before.
 
Azas said:
Fuck me, haha. Anyway, to my untrained ears, I can't hear any Auto-Tune on the album.
Click to expand...
Agreed, there is a pretty distinctive style to Ghost's vocals but it has always seemed to me to be largely due to the huge amounts of layering to create an almost choral effect. TF is not a natural powerhouse vocalist like a Bruce Dickinson or a Rob Halford so he has gone with a different approach that works well for the band and their music.
 
Cat Milk Supreme said:
I hear ya but considering it's the last song on the album, possibly the last album (I'm certain Steve thought it was probably the last), I don't mind it. I find it an emotional, cathartic song, I think the words reflect Steve confronting growing older, magical days running out, all the things that have gone before and it's sad. I imagine writing a song like that myself and it wouldn't feel appropriate to end it abruptly. The drawn out sway at the end is almost like the slowing of a heart rate, the dwindling of a spirit, the slow leak of magic from this world. So there :nana:
Click to expand...
That's fine! It's subjective anyway. I never liked fade-outs and the one in Hell On Earth frustrates me even more, because that final riff isn't the best. If the song had to fade out I would've preferred the part right before/the intro with its gorgeous melody repeating until silence. Other epics of his like The Legacy (yeah, co-written) or FTGGOG don't fade out, yet they have a definitive and satisfying ending with gravitas, summing up the previous 10 minutes of music in what I consider a much more cathartic way. No one said the song had to have an abrupt ending. Live it obviously didn't have a fade out, they could've ended the studio version in the same way and it would've been even better in my eyes.

That's obviously just my opinion though. Fade-outs are simply one of my musical pet peeves :D

Ruflux said:
It's funny because there's like, what, three songs with fade outs in their catalog? And then we get Hell on Earth after I don't even remember how long since the latest example until then. SIASL or something? I think most people assumed Steve hated fade outs too since the band basically never uses them, but turns out he was just saving them up for the (potentially) last Maiden song.
Click to expand...
It's hilarious to me how The Prophecy features two fade-outs in a row. First the distorted guitars fade out, we get the lovely acoustic folk outro which then also fades out lol
 
Last edited:
Vaenyr said:
That's fine! It's subjective anyway. I never liked fade-outs and the one in Hell On Earth frustrates me even more, because that final riff isn't the best. If the song had to fade out I would've preferred the part right before/the intro with its gorgeous melody repeating until silence. Other epics of his like The Legacy (yeah, co-written) or FTGGOG don't fade out, yet they have a definitive ending with gravitas, summing up the previous 10 minutes of music in what I consider a much more cathartic way. No one said the song had to have an abrupt ending. Live it obviously didn't have a fade out, they could've ended the studio version in the same way and it would've been even better in my eyes.

That's obviously just my opinion though. Fade-outs are simply one of my musical pet peeves :D


It's hilarious to me how The Prophecy features two fade-outs in a row. First the distorted guitars fade out, we get the lovely acoustic folk outro which then also fades out lol
Click to expand...
I love the intro and outro of hell on earth. X factor vibe, then the song turns into an early reunion sound. Senjutstu album for me its like a mix of xfactor virtual xi and after reunion sound.
 
You must log in or register to reply here.
Back
Top