HIM
Screamworks: Love In Practice And Theory

Two and a half years after the dark and gloomy "Venus Doom", which revisited some of the sounds typical of their early work, H.I.M. (an acronym for His Infernal Majesty) returns with their seventh studio album "Screamworks: Love in Practice and Theory", produced by Matt Squire and entirely recorded in the United States.

A necessary premise: those who have had the fortune to read singer Ville Valo's interviews on the eve of their new work will be able to digest the important sound innovations introduced by the band more gently. Having renounced alcohol (and the sound of the previous full-length album), the five Finns give life to a work which, by necessity, will divide the large following of fans. First of all, they abandon the goth/doom hints present in the album and subsequent live performances of 2007, to focus on a decidedly more direct sound which, while distancing fans of the HIM trademark gloomy atmospheres, will allow greater media enjoyment of a decidedly catchy and carefree album. The lyrics haven’t changed, Valo continues with the inevitable romantic theme (this time inspired by a recent mysterious relationship), but, in the reviewer's opinion, he ventures into territories that are somewhat embarrassing for those who appreciate the HIM trademark. But let's proceed with the detailed analysis:

"In Venere Veritas": The new work opens with a direct track, transmitting a stylistic change in the composition phase. No decadent atmosphere, few references to the past. Ville Valo's vocal lines immediately seem to turn towards the light, to a hope veil, also accompanied by a keyboard sound (Emerson Burton) that is not at all similar to previous works and which, instead, touches the relaxed atmospheres of "Deep Shadows And Brilliant Highlights" (2001).

"Scared To Death": The romantic pop vein is accentuated in the second track of Screamworks. "Scared To Death" is indeed the first big ballad aiming to become a chart-topping single in no time, much to the dismay of fans nostalgic for "Venus Doom" and its offspring. Indeed, there are no particular dark elements that had drawn goth/metal enthusiasts closer to the Finns from Helsinki. However, the listening remains pleasurable until the end, although overall too saccharine. In this regard, the classic end-of-year live performance at Tavastia Klubi had raised hopes for the studio success of catchy songs like this. None of that: the sound produced by good old Matt Squire (a debatable choice given previous collaborations) ruins what was promising on the live stage.

"Heartkiller": For a few weeks, HIM had proposed the first single on Myspace, complete with a full-style video clip. But even in this case, the comparison with the past doesn't hold: "Heartkiller" proves to be extremely bland compared to masterpieces such as "The Funeral Of Hearts", "Join Me", or "Right Here in My Arms", adorned (so to speak) with a horrible final chorus that seems to call up none other than Finley. All this sprinkled with a cheerful and carefree version of Valo, in a guise not exactly typical, raising serious suspicions about the sales strategies adopted by the band.

"Dying Song": The classic electronic elements are not long in appearing even in the fourth track, but fortunately, when Valo is Valo, interesting elements emerge. An articulated verse explodes into a chorus testifying to the singer's vocal qualities, a first lucky episode in a work thus far too predictable; the flaw concerns Linde (guitar) who is relegated to banal and utterly different solos from the aggressive and captivating episodes of the previous album.

"Disarm Me (With Your Loneliness)": The second ballad of the set, this time more enveloping in Valo's precise vocal lines. Burton's and Linde’s accompaniment (still devoted to a measured sound) is very musical and engaging, making the piece enjoyable throughout its duration. Once the initial embarrassment for the abrupt style change adopted by the band is set aside, one can appreciate the smoothness of melodies that would fit well in a love movie with a happy ending.

"Love, The Hardest Way": A slightly catchy intro kicks off the sixth track of Screamworks. The reference to the pop/rock of the much-contested The Rasmus from the latest "Black Roses" is inevitable, not to mention the now-expected electronic insertions so dear to the 'new' Valo, a fan of Depeche Mode. It might well be a passion, but in this case too, fans might far prefer the live version offered for the first time at the now fixed Tavastia appointment. Sometimes you wonder, or perhaps provoke: are these HIM or Matt Squire?

"Katherine Wheel": For his seventh effort, Valo resurrects some elements banned during the creation of Venus Doom. "Katherine Wheel" is yet another cheerful and hopeful chapter proposed by the Finns, with an intro akin to "Poison Girl" (Razorblade Romance) but filled with melodies that seem to hark back to happier days of Ville and company. After all, the last two years away from excesses must have given them much to ponder. As an unconditional HIM fan, we find ourselves facing a palpably simplistic work, in some ways repetitive and devoid of the magic we were used to in earlier times.

"In The Arms Of Rain": With the fear of missing the HIM, we stumble upon the umpteenth track as never before filled with cheerful sounds. The initial tribute to the famous "Right Here In My Arms" is clear, but to be honest, the rest of the composition doesn’t particularly thrill. The album appears flat, ultimately repetitive in tone and with breaks repeated ad nauseam. But I bet on one thing: live, "In The Arms Of Rain" will be able to convey decidedly more rock sensations. Dear HIM: was Matt Squire the right choice?

"Ode To Solitude": The first rock thrust arrives only with the ninth chapter, this time opened by captivating atmospheres like never before, reminiscent of "Buried Alive By Love" from the Love Metal album, only to flatten on a chorus fully styled like The Rasmus and Negative. The first true heavy chapter of the album concludes with the first significant screams announced by Ville Valo in the latest interviews.

"Shatter Me With Hope": The aggressive matrix at the right point continues, with crafted verses and a chorus easily assimilable after just one listen. Linde manages, perhaps for the second time, to unleash the Sabbathian riffs so sought after in the previous work, well-supported by a suitably aggressive and decadent vocal tone. Well-crafted solo, unconditional approval.

"Acoustic Funeral": Undoubtedly the best track of the entire album: melancholic, crafted, rich in emotions. For a moment, we find HIM in a 2010 version, but with a degree of innovation worthy of bands of a certain caliber. A chorus that highlights all of Ville Valo's melancholic side, finally expressive after a phase of forced cheerfulness. The romantic finale seems to reconnect two people in an embrace that wishes to erase all the painful past, until the illusion of eternal love. And an apparent tranquility.

"Like St.Valentine": The electronic intro is immediately blown away by a guitar riff reminiscent of the latest American productions (a coincidence?). Valo gets into character with energy and poetic vein, followed by Burton's light notes and Gas Lipstick's powerful drums. Listen to the finale to believe: rising fiercely, unrecognizable for an early HIM fan. In outright collision with the title recalling Valentine’s Day, the twelfth track is a true stab toward those who would have expected yet another ballad. Ville's scream outburst openly tells of love adventures to leave behind.

"The Foreboding Sense Of Impending Happiness": The question arises spontaneously: is it a joke from the album, or are we listening to HIM? The band’s last effort seems to emulate the Depeche Mode in every way, along the path followed by Paradise Lost during the "Icon", "One Second" period, to be clear. Valo blends purely electronic elements with a measured and determined voice to accompany the decadent melodies. Something different was reasonably expected from the last track, but the announced shift was indeed complete.

In conclusion, HIM releases their seventh album with the clear ambition to venture into previously untouched territories. The band notably has never produced albums unabashedly identical over the years, always seeking a new mix to enrich a varied discography. Mission accomplished? In this case, after duly saving two or three indisputably crafted songs that could soon become milestones in the HIM collection, it becomes difficult to spare adjectives like repetitive, overly cheerful, moving through the significant 'built by design' which would so enrage Ville Valo. The impression is that the singer has chosen a path hardly navigable for his band, and personally, I can only wish for a return to the dark and decadent sounds. Remember "Deep Shadows And Brilliant Highlights" from 2001? Well, add a touch of "Dark Light," an American punk-rock production, and you’ll have "Screamworks: Love In Practice And Theory". Satisfied? The verdict, when all is said and done, is negative for three-quarters of the production.