{"id":3437,"date":"2023-05-17T07:32:27","date_gmt":"2023-05-17T12:32:27","guid":{"rendered":"https:\/\/mkultramagazine.com\/?p=3437"},"modified":"2023-05-17T07:32:29","modified_gmt":"2023-05-17T12:32:29","slug":"ghost-shares-cover-of-iron-maidens-phantom-of-the-opera-from-upcoming-phantomime-ep","status":"publish","type":"post","link":"https:\/\/mkultramagazine.com\/?p=3437","title":{"rendered":"GHOST Shares Cover Of IRON MAIDEN’s ‘Phantom Of The Opera’ From Upcoming ‘Phantomime’ EP"},"content":{"rendered":"
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GHOST<\/strong> has shared a cover of IRON MAIDEN<\/strong>‘s “Phantom Of The Opera”<\/strong>, taken from the upcoming “Phantomime”<\/strong> EP. It is the second track to be made available from the EP, following on from last month’s release of a cover of GENESIS<\/strong>‘s “Jesus He Knows Me”<\/strong>.<\/p>\n\n\n\n

Due on May 18 via Loma Vista Recordings<\/strong>, “Phantomime”<\/strong> is a five-song covers EP intended from the start to follow last year’s international chart-topping opus “Impera”<\/strong>. A diverse and spellbinding sampling of the Grammy Award<\/strong>-winning band’s musical DNA, “Phantomime”<\/strong> is comprised of covers of classics and deep cuts by TELEVISION<\/strong>, GENESIS<\/strong>, THE STRANGLERS<\/strong>, IRON MAIDEN<\/strong> and Tina Turner<\/strong>. “Phantomime”<\/strong> pays tribute in equal measure to every one of these unlikely bedfellow, influences while stamping them all with GHOST<\/strong>‘s undeniable sonic signature.<\/p>\n\n\n\n

Last year, GHOST<\/strong> mastermind Tobias Forge<\/strong> told the “My Planet Rocks”<\/strong> show on the U.K. rock radio station Planet Rock<\/strong> that MAIDEN<\/strong> has been a “massive influence” on GHOST<\/strong>. “Both musically and also stage production-wise,” he said. “But also when it comes to work ethics and just the sheer volume of work you have to put into your job [and] in your craft has always been inspiring to me.<\/p>\n\n\n\n

“When I was a kid, I was sitting with [IRON MAIDEN<\/strong>‘s 1985 live album] ‘Live After Death’<\/strong> record and I was dead set on wanting to become a professional musician and I wanted to tour. I knew about the concept of touring, but a lot of my knowledge or my preconceived notions of what I thought touring was about was looking through ‘Live After Death’<\/strong> and seeing all those dates that they were playing everywhere. I sat there with like a big map book and just drew out how they toured, where they played and how often you play. That record in the inner sleeve, you have a lot of information about touring life.”<\/p>\n\n\n\n

Forge<\/strong> continued: “The ’90s was a little bit medieval for a lot of the ’80s [metal] bands and I must say that after Bruce<\/strong> [Dickinson<\/strong>] left [in 1993], I wasn’t a giant fan of the Blaze Bayley<\/strong> years. In the ’90s, this is before Internet, this is before accessibility that way you had to invest in your records, and you had to invest time into anything that you liked.<\/p>\n\n\n\n

“In 1995 when they made the first record with Blaze<\/strong> [‘The X Factor’<\/strong>], I was so buried in death\/black metal stuff, and I was so busy exploring what happened in 1985 that I didn’t have time for following that. So, of course, I was amazed when Bruce<\/strong> came back into the band and they made this triumphant return. I must say that ‘Brave New World’<\/strong>, the comeback record with Bruce<\/strong>, was and still is an unbelievably well-constructed record\u2026 That record is actually really good from start to finish. Unbelievable.<\/p>\n\n\n\n

“It’s incredible that a band 20 years into their professional career were able to still add songs to their already existing and mind-blowingly great repertoire. I think that\u00a0‘Blood Brothers’<\/strong>\u00a0is a song that they are still playing at most of their shows, but they could easily play 10 songs from that record.”<\/p>\n\n\n\n

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