Ghøstkid – Ghøstkid (2020) Hi-Res

In February this year, German metalcore outfit ESKIMO CALLBOY announced the departure of Sebastien ‘Sushi’ Biesler, their unclean vocalist who had spent the previous decade screaming about getting drunk, having sex and partying. But Sushi wasn’t done with music – he was preparing for the dark side. Like an alternative Anakin Skywalker, he’s turned from the Rebel Alliance of his former outfit to the Galactic Empire of GHØSTKID, a brand new solo project whose eponymous debut album is out now via Century Media Records.

It doesn’t take long for this album to properly show its teeth – about thirty seconds of opening track Føøl, to be precise. The gang vocals and huge, BRING ME THE HORIZON-esque hooks are instantly digestable and a huge statement of intent from GHØSTKID – they’re not here to mess around or take the mickey. It continues in the infectious Start A Fight, built around an industrial-tinged, nu metal riff that could whip up a mosh pit in no time; there’s a further nod to one of the UK’s darlings in Sharks which, if released at any point in the last five years by ARCHITECTS, would have been heralded as a future metal classic. Yøu & I goes into territory explored by LINKIN PARK on both Meteora and Minutes to Midnight and the sombre, piano-led strains of Cøld Wørld is a lovely deviation that show’s the band’s ability to step away from the tried and tested but remain within the overall theme of the album.

Given Sushi‘s connections, it’s unsurprising that there are a number of guest slots to help bolster GHØSTKID and all of them pay off. Marcus Bischoff from label mates HEAVEN SHALL BURN features on Supernøva and his screaming does wonders to the colossal breakdown that sends the song into overdrive. More surprising, but no less impressive, is KREATOR frontman Mille Petrozza popping up to help out on the pacy Crøwn, adding a savage edge to the song that mimics the razor-sharp teeth that adorn the album cover itself.

Then, there’s This Is Nøt Høllywøød, a FEVER 333-influenced, confrontational slab of punk-infused metalcore that appears twice with two different guests. In the first, German rapper Timi Hendrix takes things in a more sedate direction; there is still venom in his delivery, but he’s a lot more calm and collected than HOLLYWOOD UNDEAD‘s Johnny 3 Tears, who’s enthusiastic machismo adds a beefier flex to the track. There is no denying, however, that the message held within – pulling back the curtain on the glitz and glamour of celebrity life – remains strong across both.

Stepping out from the vibrant colours of ESKIMO CALLBOY could have been seen as a huge misstep for Sushi, but in GHØSTKID he’s found his true calling. A serious and savage affair, this won’t just delight fans of metalcore in general but also tantalise those who like the more gothic influences in outfits such as MOTIONLESS IN WHITE and ICE NINE KILLS. As far as debut albums go, particularly in a year so strong for alternative music, this ranks among the very best of them.