GHØSTKID explore the dark underbelly of trying to make it as a creative on this open and obscure concept record.

Rachel Roberts

The career progression of Sebastian “Sushi” Biesler is one to be studied. From fronting bonkers electronicore outfit Electric Callboy, to pulling a sharp turn down a much darker alley with GHØSTKID, his musical CV is an interesting one to say the least.

As the second LP from this heavier, more metalcore five-piece, HOLLYWOOD SUICIDE tells the story of an artist’s sombre slog to success, and the sacrifice that comes with ‘making it’. GHØSTKID’s approach on this album must be applauded – not many growing heavy bands are taking on concept albums, and it certainly steps away from the now overdone gloomy pandemic album or a general heartache record.

The titular opener sets things up for grandness, offering sectioned chunks which each bring something different - staccato synth work, relentless heavy verses, and a wide open melodic chorus. The vulnerable S3X channels some of that sad yet sexy energy you might find with Deftones, but dusts it with a Bring Me The Horizon-esque futuristic feel and a guitar solo that melds modern rock speed with ’80s Van Halen tapping.

Elsewhere, the approach can sometimes feel a little repetitive, with some tracks not feeling as impactful as others. That said, closer Helena Drive takes a more pop-rock direction, growing into a ballad that summarises the tale of a Hollywood heroine and the hurt of trying to fit in while never knowing if your sacrifice is paying off.

HOLLYWOOD SUICIDE is an engaging listen, and an album that will leave you with some sure favourites in your back pocket to play over and over again. It stays true to the sonic footprint forged so far by GHØSTKID, and although it could use a shake up in parts, it’s still a strong body of work filled with big blaring choruses and nose-scrunch-worthy screams.

Verdict: 3/5

For fans of: Bring Me The Horizon, Bjørkø, Ice Nine Kills

HOLLYWOOD SUICIDE is out on March 22 via Century Media Records

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