Swedish theatrical rockers swap Medieval demons for modern-day counterparts.
The evolution of the stage persona of Tobias Forge – fast becoming a kind of theatre-metal Blackadder – leaps forward another few hundred years. Various incarnations of his zombie, a doomy tapestry of 14th Century plague and pestilence that proved surprisingly prescient when a lot of 70s rockers started coming down with a strange contagion just two years later. Now Copia has been promoted to Papa Emeritus IV, who should probably be delivering much of this fifth album while bathed in a devilish orange glow and adjusting a tie as red as Baal’s anus with supernaturally tiny hands.
