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louder than hell рецензия на альбом Tears On Tape

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Another Subdued Effort From Finnish Goths
by Beth Avison
UK Editor
bethavison.wordpress.com/

HIM are a band that need no introduction. With a career spanning two decades and a legion of fiercely loyal fans on their side, they have become somewhat of a household name in the world of rock. Add this to their famous ‘heartagram’ logo and frontman Ville Valo’s friendship with American skater Bam Margera, and you have something massive. After a quiet vacation from the spotlight over the past couple of years, the Finnish five-piece are back with their latest album Tears on Tape, their eighth studio offering.

Before we move onto the album itself, let’s make one thing absolutely clear: HIM are certainly not a metal band anymore. Since the release of 2007’s Venus Doom, they have taken a much softer, pop-oriented approach to their music which is clear in this release. This is something you have to bear in mind when listening to this record, because if you’re expecting metal, you will be sorely disappointed. Tears on Tape is a pop rock album through and through, featuring catchy guitar riffs, well-produced vocals and clean, synth-like keyboards. From the first few seconds of instrumental intro ‘Unleash the Red’, it is clear that HIM have taken direction from their last release Screamworks: Love in Theory and Practice, albeit slightly less in the style of Depeche Mode but carrying on in that vein all the same.

However, the album does have the occasional heavier moment, reminiscent of the style heard in ‘Buried Alive by Love’ from the Love Metal album. This is apparent in the track ‘Hearts at War’, where guitarist Linde Lindstrom’s doom-laden opening riff shows the band’s Black Sabbath influence shining through. The album is also rife with singalong anthems such as ‘All Lips Go Blue’ and ‘Love Without Tears’, which are both perfect festival fodder. Instrumentally, melodic keyboards are prominent in the majority of the tracks and Valo’s pleasant, signature croon is present throughout, combined with his familiar raspy breaths. Heavily distorted guitar is also added into the mix; another ingredient to HIM’s trademark sound which has been ever present, no matter which direction they have taken. There are various interludes throughout the album, but unfortunately most of these seem to have been randomly chucked in, which puts a bit of a downer on the listening experience.

Tears on Tape was intended to ‘go back to the roots’ of the band, a statement from Mr. Valo himself, but one that does not prove entirely true. Sure, hints of their Sisters of Mercy-influenced past are there, sprinkled amongst the accessible pop tinge, but HIM’s raw bite has long since disappeared. What you have here is an album which is in no way a bad one and will appeal to today’s rock fans, but if you like this then I suggest you delve deeper into their discography because that is where the real gems are found.

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