It's so weird to me that at this stage of their career, they decided to release a Halloween-themed album. They remind you that they could be dark as they reworked "Night Boat" from their first album which did have a creepy video with zombies in it when it came out in 1981. They went back to opening up with this one on their most recent tour, so I guess it makes sense for them to re-record it. In all honesty, these guys are better musicians than they get credit for. "Black Moonlight" is a new song and is more disco than the new romantic new wave style of old. Simon Le Bon sounds great for 65, though judging from live footage earlier in the year, he is getting a little help in post-production.
They resurrection "Love Voodoo" from the Wedding album. It gets a darker grooving treatment. The vocals are more layered, and the bass line funkier. I think it stands up against the original version well. I am not sure how necessary a cover of Billie Eilish's "Bury a Friend". It always sounded like the original was ripping off the melody to "People are Strange" during the verses, and it is not as pronounced in this version, though this feels unnecessary. They cover the 1970s disco classic "Supernature" but it manages to sound less disco than "Black Moonlight".
The title track sounds like something you might hear playing at Spirit Halloween. Not their best writing, it feels a little silly to me. The ballad "Secret Oktober 31st" works better than the previous song. In fact, it grows on me. They cover "Ghost Town" by the Specials, and steer it away from being SKA, which I can appreciate. Ska is my least favorite genre. They perhaps take too many liberties with the Stones' classic "Paint it Black" , but adhere more closely to what Rick James laid down on "Super Freak"
They capture the feel of Siouxsie's "Spellbound", but it is too upbeat to make goth night anytime soon. They do a pretty decent job with the Talking Head's "Psycho Killer". They close the album with another new "Confessions in the Afterlife" which is another ballad. It feels like it's at the top of Simon's current head register. I will give this a 7.5, it has it's moments and is pretty decent for what it is, but does not really measure up against their more classic work.
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