HIM: Tears on Tape – review Dom Lawson The Guardian, Thursday 25 April 2013
As one of the few contemporary frontmen to ooze authentic rock-star cool, Ville Valo has made light work of attracting a vast fanbase over the 16 years since HIM's debut. The Finns' formula remains as distinctive as ever on their eighth studio album, their cobwebbed melodies, lovelorn pathos and grubby metallic crunch all intact. A vast improvement on 2010's anaemic Screamworks, Tears on Tape harks back to the incisive crowd-pleasing of 2003's Love Metal, wherein every song boasted an irresistible, radio-friendly chorus, but the riffs still left a bruise or two. Valo's gift is to make something as gently macabre as Drawn and Quartered sound woozily romantic, his rich baritone permanently teetering on the edge of vulnerability. The fans, as rabid as any on the planet, will stampede to procure Tears on Tape in its initial "fanpack" edition, but its insidious charms may well draw in a larger mainstream audience.
HIM's Tears On Tape a fantastic blend of all they have to offer
HIM fans can finally rejoice as the band's long-awaited eighth studio album, Tears on Tape, will be released tomorrow in Finland on Cooking Vinyl's imprint DoubleCross, Monday in Europe on Universal Music and Tuesday here in the U.S. on Razor & Tie.
Fans have waited for a long time after the band took a two-year hiatus after leaving Sire Records and after drummer, Gas Lipstick, found that he was suffering from severe nerve damage.
For awhile it appeared that the band may be over but in August HIM announced they were finally heading into the studio to record a new album and in February they announced the release date.
Tears on Tape was recorded in their home country of Finland with long-time producer, Hiili Hiilesmaa and mixed by long-time band associate, Tim Palmer (U2, Ozzy Osbourne, Pearl Jam). HIM's "Tears on Tape" HIM's "Tears on Tape"
The album is a blend of the two styles that HIM has become known for over their years: the melodic metal of their early years and the poppier alternative of their last few albums.
In numerous interviews HIM front man, Ville Valo, has said that the band was looking to pay tribute to some of their idols, including Black Sabbath, and that they were looking to combine that heavy Sabbath sound with the melodic choruses of a Roy Orbison song and they have definitely achieved this on Tears on Tape.
The album opens with the dramatic instrumental piece, "Unleash the Red", that kicks off appropriately with the starting of a cassette tape and immediately sets the dark tone of the album before crashing into the opening of "All Lips Go Blue", the first single here in the States.
"All Lips Go Blue" packs a hard punch with a thunderous guitar solo from lead guitarist, Linde Lindstrom contrasting with Valo's signature crooning of his poetic lyrics of love and pain, "My heart so violently beats along."
"Love Without Tears" ramps up the drama as Valo explores one of his favorite themes: the idea that people continue to pursue love in spite of the pain that comes along with it in the hopes that this time it will work out, "Just a story told to keep us hanging on."
"I Will Be The End Of You" is the first song the band performed live off of the album and features another powerful riff and leans more towards the heaviness of HIM's Venus Doom album, "Love screaming I will be the end of you."
The first video released for the album was for the title track, "Tears on Tape", which leads the album down a little lighter path as the swirling chorus feels like it could easily fit on HIM's last album, Screamworks: Love In Theory and Practice, "And for a moment there’s no pain."
"Into The Night" continues in a lighter direction and is easily the album's standout track with its distorted guitar riff working alongside a powerful rhythm and featuring some killer harmony.
The song also gives Valo a strong showcase for his dramatic vocal range, "Painting pain with pastels through her cemetery eyes."
The album is then broken up with another instrumental interlude, "Trapped In Autumn" that evokes a bit of a dark electronica feel that leads into the heavy, "No Love".
"No Love" is the most metal sounding track on the album and features some great interplay between Lindstrom and bassist Mige Paananen and allows Valo to get some frustration out with some screaming, "Forever and ever!"
"Drawn & Quartered" is a beautiful romantic track that seems to get better with each listen as it unfolds.
At times the track evokes a acoustic feel and features lyrics that allow a peek into the vulnerability that lurks beneath the darkness, "Let's hold these hearts for one another."
The instrumental, "Lucifer's Chorale", returns things to the dark side as its distortion and heaviness thrusts listeners into the gates of Hell.
"W.L.S.T.D." is HIM at its best with a perfect mix of heavy gothic distortion alongside the dramatic feel of keyboardist Emerson Burton's intro.
The song's slow pace also adds to the drama and Valo's choice to sing in a deep octave gives it a chilling feel, "When love starts to die it begins with a kiss. Violently soothing and warm."
W.L.S.T.D. leads right into outro, "Kiss The Void", which brings things to a violent, crashing end as the "tape" abruptly stops.
The Tears on Tape album is a testament to HIM's ability to keep things fresh while staying true to their unique sound.
“A moment of calm before the storm,” main man Ville Valo declares on “All Lips Go Blue,” the first single off of HIM’s highly anticipated new album, Tears on Tape. After a three-year hiatus, the Helsinki “love metal” quintet is back with a vengeance. Composed of 13 songs, Tears on Tape may leave the HIM diehard a bit baffled, disappointed, and curious as to the new direction the band seems to have taken–but the truth is that the typical HIM fashion is always to move forward, even if it leaves some fans behind.
In concept, Tears on Tape is a heartfelt, delicately composed mixtape. Drawing inspiration from the musicians that inspired the band, Valo & Co. has drawn together lingering elements of Black Sabbath, Roy Orbison, Elvis, Paradise Lost, and the earlier incarnations of HIM themselves. For instance, on “Love without Tears,” the band teleports the listener back to both their seminal Love Metal album and Roy Orbison’s Mystery Girl album, elements of which have been seamlessly fused together with guitarist Linde Lindstrom’s clean, Iommi-inspired guitar solo and a variety of layered vocal tracks, which range from doo-wop era “ooh”s and “aah”s to Valo’s infamous baritone hum, which murmurs out a moving plea for his ever-mysterious muse to “Love without tears, go on and prove me wrong.”
The heaviest tracks on the album are the trifecta of “Lucifers Chorale,” “W.L.S.T.D.,” and the outro to the entire album, “Kiss the Void,” which wrap up Tears on Tape with the sound effects of the end of a cassette tape and the familiar sound of a cassette tape stopping (those who yearn for the good old days of mixtapes will be moved). “W.L.S.T.D.” is reminiscent of the band’s 2007 album Venus Doom with touches of Type O Negative and Paradise Lost. A very cold and dreary tune carried by a thundering bass line and nightmarish keyboards, the song comes together with deep vocals that almost sound like Valo has finally succumbed to his inner demons, concluding with an apt scream that ultimately defines the key line in the chorus: “Violently soothing and warm.”
On top of all its proper songs, the album also contains four instrumental tracks, which are meticulously placed throughout as interludes and outros; one, “Unleash The Red,” even starts Tears on Tape off. The track is a full 1:07 of spooky keyboards, trance-inducing drumming, and heavy guitars. (The song actually made it’s mystery debut as the band’s intro at HIM’s annual Hell-done Festival in late December unbeknownst to most who attended.)
Reminiscent of a classic record, the cover and booklet artwork are just as cryptic as the songs. Illustrated by Daniel P. Carter (The Bloodhound Gang, BBC Radio Host), the 12 accompanying images are complete with ancient languages, optical illusions, and symbolism that beautifully inter-fuses the “Trifecta” concept it’s supposed to.
Suffice it to say, Tears on Tape is a sentimentally sweet, sonically stunning, and beautifully packaged album. Despite some snippets that have been leaked, one is cautioned to listen to the entire album first before coming to a decision as to what exactly HIM has unleashed upon them: a mixtape dedicated to new beginnings or a bittersweet yearning for the past. Either way, Tears on Tape is a powerful collection of music (very much worth the three-year wait) that will appeal to music lovers of all eras and, of course, those in the Golden God category they are nominated in: Most Dedicated Fans. SARAH B. KOENIG
There are certain bands that are polarizing and garner a reaction. Regardless if negative or positive, they jar something within that brings forth an emotion that is resolute. Platinum selling Finnish gothic metal group HIM are just that band. With the release of their latest album Tears On Tape, HIM are back with their strongest album in years.
Three years in the making, Tears On Tape oozes melody, memorable hooks and the perfect hybrid of rock and Depeche Mode pop sensibilities. In 2012 drummer Gas sustained a hand injury and was unable to play. During the down time, vocalist and main composer Ville Valo worked for eight months writing the material on an acoustic guitar and working out the melodies. The results are the most complete set of songs since 2005s Dark Light.
HIM are able to create songs that are insanely catchy and unforgettable. Their last two releases seemed to be missing this unique quality and both releases fell flat. This time around the band put the melodies and songwriting first instead of trying to be heavier and something they are not. They concentrate on the band's strengths and it is to their benefit.
The title track is melancholic and addictive. Inspired from '50s and '60s harmonies, the chorus is one of the best of Valo’s career. An ode to his favorite songs that inspired him when he was younger, he does an admirable job of evoking an emotional vocal line. A haunting piano creates the perfect atmosphere and just the right backdrop for the vocals.
The simple driving riff of “Into the Night” works perfectly in HIM’s hands. The chorus is Valo at his most tender and once again is pop perfection, another throwback to the vocal lines of the doo-wop era, in particular Roy Orbison. Valo’s falsetto vocals are flawless and once again show the singer at the top of his game. This song is in HIM’s wheelhouse and should be a fan favorite.
The production is handled once again by longtime collaborator Hiili Hiilesmaa. Highly acclaimed producer Tim Palmer, who has worked with Ozzy Osbourne and Pearl Jam, handles the mix. The production enhances the band's sound and pushes the vocals out front where they belong. Not overly compressed, the record has room to breath, which helps the dynamics stand out.
Out of the thirteen songs on the record, four of them are interludes that try and create segues between the songs, but they fall flat. The album would have been better served with the nine actual compositions. The songs are all incredibly strong and there is no need to break up the flow. It hinders the listen and serves more as a distraction.
Are HIM metal? Who knows and who cares? They should be judged on the merits of what they are trying to accomplish and that is writing a catchy simple tune. They succeed with what they are trying to achieve and write some of the best pop metal songs on the scene today. Tears On Tape is a return to the glory days of the band and longtime fans should be pleased with the results. It's a great rebound and a release that has put a band back on the right path.
There is a certain segment of rock & roll fandom that is adverse to change for any reason. Usually, it's an older generation that loves acts whose albums continue to sound the same. (Hardcore followers of Status Quo, Bon Scott-era AC/DC, and pre-synth ZZ Top take note.) Fans of Finnish goth pop rockers H.I.M. are hardly baby boomers, though. In listening to their catalog, one or two things become self-evident: either they are happy to give their fans exactly what they desire over and over again, or they are incapable of change (or perhaps both, which is a win-win). Tears on Tape proves that H.I.M. moves forward and back but remains mostly in one place. Certain albums rock a bit harder, some feature more polished production, but essentially the hooks, song structures, and dynamics have remained the same throughout their history. The twin subjects on TOT are love and death. Lead crooner/ lyricist Ville Valo has romantic love firmly at the center of his vocabulary, and celebrates its riches, mourns its loss, and meditates on its meaning. Here he examines love as it encounters the greatest of all human mysteries: the great beyond. First single, "Lips Go Blue," commences with a riff worthy of Black Sabbath, but as keyboards and guitars vie for dominance, Valo croons about literally loving someone to death in a '60s bubble gum pop melody. Speaking of Sabbath (H.I.M.'s guitarist is married to Tony Iommi's daughter), they pay formal tribute by appropriating the riff from "A National Acrobat" in "Love Without Tears." "Into the Night" starts out with a rawer guitar edge but quickly slips into melodic, romantic '80s hair metal. "No Love" attempts to shake off the lyricism in favor of full-on, riff-centric metal that is musically reminiscent of Dio's finer moments, but it doesn't succeed because of its ballad-esque hook. "W.L.S.T.D." gets closer still with its slow progression, martial drums, and atmospheric keyboards; even in his most sinister snarl, Valo is so wistful he sounds like a jilted schoolboy, and H.I.M. are incapable of writing songs without proper hooks. Tears on Tape delivers exactly what the band's fans seem to require: a tragic, nearly ghoulish fascination with love and death that marries gothic pop romanticism with heavy rock. How many records does one need like this? Here H.I.M. seem to be banking a lot; and with more than 20 years and boatloads of albums and singles, who's going to argue?
The 8th studio album of the band that has sold about 8 million records, starts from slamming the cassette well shut and ends to the bounce of the play button of the player when the tape has come to an end. Tears are streaming down and the meeting of Black Sabbath, Roy Orbison and Smashing Pumpkins, which the band advertised, is sorted in between. Screamworks: Love In Theory And Practice (2010) was a more upbeat and good-humored album than the earlier albums, in HIM's scale the perfect backlash to Venus Doom (2007), which was slowly jamming, super heavy and pitch-black atmospherewise. People have said mischievously that HIM's songs are made of the same mettle and nobody would notice if the choruses were swapped. Still, the album wholenesses of the band are very different from their spirit. It's like each album has its own personality. The strength and distinctiveness of Tears On Tape is to be everything that the earlier albums have been made of. It's HIM on a broad front, from heavy to light and from dark to the glimmer of light. It's like a transitional form of two previous studio albums, black and colorful. I consider Screamworks as the quietest album of HIM. Not because of its nature but simply because after the strong beginning, it hasn't gotten even close to the familiar HIM quality. That's why there was special excitement in grabbing Tears On Tape: will they come back or is their pen starting to get less sharp? So, in the new album, they go back to the more thick and tender HIM sound. The broad-based songs bring some nice change to the album. Into The Night and especially Hearts At War plow maximal heaviness being slammed with Sabbath riffs, I Will Be The End Of You and Love Without Tears float more lightly and the title song enjoy sadly. They have managed to work effect-like interludes into the album to create an atmosphere or, optionally, to cut it off. HIM are stretched towards the extremities but still, the songs that were born by the "man and guitar" kind of humming method, make also the listener hum. Tears On Tape won't grow to be so charming and pleasuring cocktail as Dark Light (2005) was and it's not so breathtakingly beautiful in a gloomy manner as Venus Doom was, but still it is a full-blooded HIM album. It's simultaneously unclean and clean, desperate and comforting, catchy as anything. The depressed romanticism won't fall away from HIM and on this album, that basic value is emphasized better than it was on Screamworks. On Tears on Tape, HIM sound like a young and eager band that wants to splash their distinctive music to be swallowed by the whole world. With the difference, of course, that it's more skillful and considerate in fulfilling their songs than a young band.
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