Author: kaylubd

I am a writer who loves music. Both have been a part of my life for as long as I can remember. I love revisiting some of my favorite albums, but I also look for new opportunities to find new music, also. Besides music and writing I also like video games (one of my favorites is Saint's Row the Third) and reading.

Rank the Videos: HIM 1996 – 2001

 

 

I was taken aback when HIM announced their breakup. As I explained before, they were never the most important band in my life, but I’ve followed them for so long it’s like saying goodbye to an old friend. I immersed myself in the band shortly after the news, similar to many fans and soon I came upon their videos. I never thought they had the best music videos, but there are a handful I always loved. Some are outright terrible, but others are charming even if they are strictly fan service.

Before seeing them one last time in fall, I wanted to look back at all their videos and rank them from

“Join Me (In Death)” (2000)

HIM’s biggest song received four different videos with the “ice version” being the most popular. Ville and crew find themselves in the middle of an ice palace performing what turned out to be their breakout song. This clip, directed by John Hillcoat, gets to the heart of the track, which is about Romeo and Juliet. Ville is a smoldering Romeo at the peak of his glam rockstar phase. A mysterious heavy coated woman plays Juliet, who meets her demise by drinking poison. The entire thing takes place in an ice cave and even members are shown freezing over. Just watching the video makes you shiver. With its cool imagery and Ville’s good looks, the video has since become iconic within the HIM fandom. It’s definitely a fan favorite and one that helped the band break into US mainstream charts. The only thing that bothered me was how uncomfortable the woman looked. She’s wearing a barbed wire outfit and it looks like she’s trying hard to keep it together. Aside from Ville’s eye shadow, it’s the most distracting thing in the video.

 

“Wicked Game” (UK Version) (2000)

The third, and best, video for “Wicked Game” finds Ville having the worst night of his life. Cold and wet from the rain, he’s convinced to warm up in a strip club. While he starts having a good time watching the dancer on stage, he gets his wallet stolen, his drink ruined, starts a fight, and ends up being kicked out of the club. The other HIM members play the role of a cheesy backup band complete in corny Elvis costumes. For some reason, the dancer always freaked me out. Maybe it’s because she looks like she’s made out of plastic. Otherwise, the clip is humorous and keeps your attention, unlike previous versions, making it one of HIM’s most memorable videos. It’s not their best, but at least it’s fun and doesn’t have cheesy Gothic elements.

“Right Here In My Arms” (2000)

As HIM found more success their videos improved, but they were still kind of rough as this clip shows. Here, the band is trapped in a mirrored box performing the song. Outside, one lucky lady watches the performance even though the band can’t see her. It’s a simple clip but is kind of cool with the box the band is encased in and the lights. Ville finally seems comfortable mugging for the camera but pulls off faces that are supposed to be sexy, yet end up looking funny. Behind him, the rest of the guys are still pulling their best rockstar impressions, tongues hanging out and all. This used to be my favorite HIM video for a while. I remember being jealous of the girl because she got to watch Ville in all his glory. I’ve gotten over it since then.

“When Love and Death Embrace” (1999)

HIM’s first few videos are rough, but at least they started to get it right for their third one directed by Mikko Pitkänen. It’s a straightforward clip; the band sits in what looks like an old hotel mixed with set piece shots and footage of people brooding. Nothing much happens, but its sophisticated tone and charm match the somber mood of the song. Plus, Ville does his best pouting for the camera leading to the start of his sex symbol status. The video’s gloomy vibe does match the sound of the band at this point: melancholy, dark, and gothic. Overall, the video isn’t that memorable, but it’s not terrible.

“Gone With the Sin” (2000)

This video is more Ville eye candy. The clip is just him walking through a beautiful landscape looking sullen and moody. He then comes upon some flowers and makes his way, barefoot, to a grave bearing the heartagram. He leaves the flowers while looking over the grave. Did I mention Ville is walking through the fields without a shirt on? There are actually two versions of this video. Both are pretty much the same except the US version features super bright, vivid colors while Ville himself is in black and white. It’s kind of a cool effect that reminds me of Soundgarden’s “Black Hole Sun” video. The Finnish version doesn’t have the blinding colors. Rather, the scenery is presented in all its glory. While the color dynamics are cool in the US version, the entire thing looks more beautiful and pleasant in the Finnish one. The video as a whole is nice even though nothing happens.

“Join Me in Death” (Version 1) (1999)

For a video with four different variants, the first three are very similar. The very first version features the band performing the track in a room filled with lasers. It’s kind of awkward as it’s clear Ville is supposed to be the focus. At this point, he doesn’t seem sure of what to do and starts pulling weird poses and even has a Mick Jagger thing going on. These attempts to look sexy are ruined by the overly pouty faces, glitter make up, and a choker that looks more like a neck brace. Since the song was used in the movie The Thirteenth Floor the remaining versions of this video mix in footage from the film, which features lasers. That makes a lot more sense now. Even worse the footage is so out of place. It’s hard to make the connection between the song and the movie. Still, the video isn’t as memorable or visually pleasing as the later clip.

“Poison Girl” (2000)

I’m not a fan of live performance videos. They’re overdone, lazy, and generic. It’s no different for this HIM clip. The video is pulled from various performances from their 2000 Berlin show. It features the band playing the song with plenty of eye candy shots of Ville pulling off his cheesy rockstar impression. There’s even a moment where he takes off his shirt followed by a shot of drooling girls in the crowd. The video doesn’t even feature a live version of the song. Rather, it’s the standard track played over live footage. Aside from some brief moments, the clip is pretty dull. And watching a young Ville’s rockstar behavior is kind of cringy. I’m sure back in the day I would’ve found these shots sexy. Now, they’re kind of awkward to sit through.

“Wicked Game” (1996) (German Version)

HIM’s first video is something you would dream up when you’re 15. So yeah, it’s pretty bad. That’s to be expected for any band trying to make a name for themselves. The amateur clip hits all the hard rock video clichés: headbanging, playing in the woods, sticking out your tongue and making devil horns, and random shots of a dog. It even has a sepia tint for that extra dose of “edgy.” Though it’s cheesy, it’s still kind of cute. The band doesn’t seem to take the video seriously. The only one trying to pretend they’re actually performing is the drummer, Gas Lipstick. Ville doesn’t even lip synch half the time. You can even see him in the background walking the dog as if he grew bored with video shenanigans. The band tried two more times to get the video right, improving with each attempt.

“Pretending” (2001)

If you get dizzy easily, best avoid this video. Either the band or director Kevin Godley wanted some sort of shtick to make the video memorable. What’s the result? A goofy mechanism that rocks the members back and forth. Instead of looking cool, the video is disorientating and not pleasant to watch. While the other guys rock gently, Ville is tossed violently back and forth while holding onto the mic stand for dear life. Because he comes in and out of frame so fast it starts to make your stomach turn. In the end, the video is memorable after all; I remember to avoid it because it makes me sick.

“Wicked Game” (1998)

Somehow HIM’s second attempt at this video is cheesier than the first. The clip finds the band playing outside yet again this time fighting against bad weather. Ville is bombarded with a diva fan looking uncomfortable while ladies clad in stereotypical Goth attire (dread falls, latex, black wings) look on from afar. Some ladies dance, Ville mugs for the camera, and gets close to the love interest. That’s about it. Rather than going cheap, the director, Markus Walter, went for a stereotypical “dark” mood, which ends up looking bad. At least in the first version, the band looked like they were having fun. Here, they look pretty miserable, especially Ville who is pelted with snow in the face and then soaked with rain by the end. Luckily, by the third time, the band finally got it right.

Be sure to come back next month where we’ll look at HIM’s videos from 2001 – 2005.

Add Violence – Nine Inch Nails

Release Year: 2017

Rating: 8.5/10

Nine Inch Nails’ Not the Actual Events EP, the first in a trilogy, wasn’t the fury and fire we expected. While it wasn’t bad, it wasn’t all that memorable. The songs were decent and the mood was forced aggression. But with Add Violence, the second EP, Trent Reznor and Atticus Ross hit their stride. They give us a record that successfully mixes new NIN ventures with the challenging and often chilling songs they’re known for. The result is ugly, unpleasant, and unfriendly, something Reznor actually wanted. But this doesn’t mean the EP is bad; it may be the best they’ve given us since their return.

Reznor lulls you into a safe space with opening track “Less Than.” Not as compelling as other songs, it’s the most accessible. It has catchy synth heavy music reminiscent of old school video games that makes you dance. The memorable hook doesn’t hurt either. The song gets a kick to the gut during the chorus when the music explodes in distortion. It’s reminiscent of Hesitation Marks sound and while it may not grab you at first, it grows on you over time. The mood shifts when we get to “The Lovers.” The music starts out quiet with an atmospheric air that slowly builds up around Reznor’s unnerving muted vocals. There’s a sense of unease with this song – the music creeps along as if waiting for something bad to happen. And lyrics like “Please don’t leave me here/I could stop it/Maybe I could stop it (if I wanted to)/But I’m not the one driving anymore” are haunting. It sounds like someone trying to regain control as they’re slowly losing it. It’s a great song that sets up the EP’s uneasy mood.

The stand out track on this EP is the chilling “This Isn’t the Place.” It opens on a fragile, haunting note with an eerie piano and synth that’s constantly swelling. It keeps you on edge letting you wonder where the song is headed next. It finally breaks when we get to Reznor’s fragile, broken falsetto vocals. He sounds scared as he sings “I thought we had more time” a harrowing reminder that life is short. Soon, the music swells once again drowning out Reznor and leaving you shaken. It’s a track that’s uncomfortable and unnerving, something NIN excels at.

Not Anymore” breaks up the atmospheric mood and gets back to the rougher side of NIN. The music starts out fuzzy and rough sounding before everything explodes and speeds up during the hook. This is more akin to their typical sound since it’s bursting with energy and aggression. While it’s not as unnerving as some of the other tracks, it’s the hardest one on the EP. It’s a frantic track that gets your heart pumping and your fists in the air like every good NIN song should.

The final track “The Background World” gets into the ugliness Reznor wanted to tap into. Clocking in at 11 minutes, the first half of the track has an electronic soundscape steadily building up to something heavier and darker. The last seven minutes are filled with an electronic loop that gets more distorted and garbled as time goes on. Everything gets more broken up until you can’t recognize the music anymore. It’s a compelling, yet uncomfortable experience. It’s easy to stop the song before it reaches this part, but it’d sound incomplete without it. Somehow Reznor managed to make this wall of noise an integral part of the song rather than unnecessary garbage to fill up the record.

Add Violence is a moody, atmospheric experience that shows Reznor can still make compelling music this late in his career. Whereas the previous EP sounded like blind fury and aggression that didn’t leave a lasting impression, this EP successfully mixes the old and the new. It’s a record to get lost in and once you come out, you’re left shaken. Reznor succeeds in giving us music that’s uncomfortable, which is where NIN shines. It’s clear that NIN is working up to something bigger and with this release. We’ll be waiting eagerly to see what it is.

Mini Update: Break Time!

Hey guys! Just a little update on what’s going on this week. I’ll be taking a break! I realized I hadn’t taken a real, nice long break from writing in a long time and I’m feeling burnt out. So this means there will be no playlist this month. I just had too much going on and didn’t get a chance to work on it. I figured it was best to let it go at least for this month. But tomorrow there will be a new review and when I return the first part of a Rank the Videos list is coming. So stay tuned for that!

And again, thanks for everyone who stops by and checks out the site. It really means a lot to me. I know updates are a lot slower than they’ve been in the past, so thanks for being patient. ❤

 

Playlist: Room Service

Hotels can be strange places. While they can represent a lavish lifestyle and living in the lap of luxury, they’re also mysterious, unsettling, and creepy. Why else do you think so many horror movies take place in them? Musicians spend most of their time in and out of hotel rooms around the world, so there are plenty of songs about hotels out there. While some of them view the hotel as a place of comfort or even a wild night, others see it as something mysterious and unnerving. Here are some of the more notable songs about hotels and what happens behind closed doors.

“Hotel Yorba” – The White Stripes

This early White Stripes song features the name of a real hotel in the band’s hometown of Detroit. They actually recorded the single version of this song in room 206 of the hotel. When they wanted to film the video inside the hotel, they weren’t allowed to and used various exterior shots instead. Upon initial release, the song was a hit in England before it was embraced stateside. Now, it’s considered a fan favorite, though for some reason I always disliked this song. Something about the bluegrass and the jaunty melody of the “1, 2, 3, 4” hook was annoying to me.

“Room 13” – Black Flag

Here we see a man on the brink of losing control. He’s at the point of snapping and is not sure whether or not he can make it in the world. At the same time, he wants to live and keeps begging for someone to “keep me alive/I don’t know if I can do it.” The song is brash, in your face, and outright brutal, much like Black Flag themselves. Not only is the song aggressive it leaves you wondering, what the hell is room 13? It’s never mentioned and leaves your mind to wander. Is it part of an insane asylum or prison? We’re never sure. All we know for sure is this guy is about to lose it.

“Hotel” – Cassidy ft. R. Kelly

Anybody actually remember the rapper, Cassidy? Probably not, but in 2003 he had one of the hottest hip hop songs. With R. Kelly by his side, Cassidy talks about using lush hotels to hold lavish parties and convince hotties to creep up to his hotel room. It’s similar to Chingy’s “Holidae In” and Cassidy knows this as he makes references to both that song and the iconic “Rapper’s Delight.” Honestly, it sounds like your typical rap song, but what made this one a hit was the unforgettable hook. Even if you didn’t really like the song you couldn’t help but sing the R. Kelly laced hook. You gotta admit, the man knows how to make earworm hooks.

“Room 21” – Hinder

I always saw Hinder as a sleazy band and they prove it with this song.  Sounding like a Motley Crue song, the band talks about being seduced by an irresistible woman and having a wild night in room 21. When the guy comes to the next morning, the mysterious woman is gone. He’s been used, but it was so good he doesn’t care. It’s the classic tale of excess, sex, and partying. It’s clearly meant to be a fun night to remember instead of a cautionary tale like the other songs on this list.

“Heartbreak Hotel (This Place Hotel)” – Michael Jackson

One of Jackson’s best and underrated songs, it’s about a strange hotel designed to break up couples. In it, the protagonist talks about taking his lover to what he thought would be a romantic night out and instead ends in heartache. The hotel implants two women in his room implying he’s cheating on his lover. He can’t convince her otherwise and he’s left alone. The upbeat music, Jackson’s wails, and the catchy hook distracts you from how weird this song is. A hotel made to break up couples? Just shows you never know what’s happening behind closed doors. To make the song even stranger the song title was later changed to “This Place Hotel” to avoid confusion with the Elvis Presley song.

“Room 309” – Creeper

If you’ve been following Creeper, then you’d know about the major story running across two EPs and their debut album. In a nutshell, the story follows the Callous Heart cult, the stranger, and paranormal investigator James Scythe trying to piece it all together. Room 309 is where James stays at The Dolphin Hotel in Southampton, UK. The story is so massive, it’s best to you check it all out here. As for the song itself, it’s one of the heaviest on the album and packs a major punch, showing off Creeper’s heavier side.

“Twilight Hotel” – Quiet Riot

This quintessential 80s rock band takes us to the titular hotel where “anything goes” and your wildest fantasies will be fulfilled. Frontman Kevin DuBrow sings about a “secret rendezvous” in this place that seems too good to be true. Even though it holds unbridled pleasures, there’s still an air of apprehension about the place. Appearing on their third album, QIII, the song is a typical rock ballad filled with big hooks and shredding guitars. Surprisingly, it’s not as sappy or cheesy as other ballads of the era.

“Room 409” – Bullet For My Valentine

Sometimes you don’t want to know what’s waiting for you in a room as this Bullet song explains. Frontman Matt Tuck sings about a guy walking into Room 409 and finding his girlfriend with another man. Rather than walking out the door, he goes in upset and ready to unleash his violent rage. It’s clear things aren’t going to end well with Tuck singing “[You] said his name and I came in your direction /Now I can choose what to do with both of you.” This territory isn’t new for Bullet. They have lots of songs about getting revenge on a cheating lover, but this one is probably their best.

“Chelsea Hotel #2” – Leonard Cohen

There are plenty of songs about the infamous Chelsea Hotel, but this one is about a once in a lifetime meeting. In 1968, Leonard Cohen was staying at the New York hotel working on his music. At 3 AM he ran into a woman in the elevator and proceeded to strike up a conversation. Turns out, the woman was none other than Janis Joplin. They apparently spent the night together, but their affair would be forgotten in the morning. Cohen penned this song about their meeting in 1971 not too long after her death. It’s a bittersweet account of a night spent together that’s all too fleeting.

“Hotel California” – The Eagles

The mother of all hotel songs. You can’t have a hotel playlist without this Eagles classic.

Condolences – Wednesday 13

 

Release Year: 2017

Rating: 7.5/10

When Wednesday 13 revealed his next album, I didn’t have high hopes. I knew I was going to give it a listen, but I didn’t expect to like it aside from maybe one song. His last record, Monsters of the Universe: Come Out and Plague, was forgettable and found him talking about the same things he has been years, but in a boring way. The album didn’t grip me like some of his others. After listening to Condolences, I was surprised at just how much I liked it. Yes, he’s still singing about dead girls and spooky things, but he takes on a dark theme that makes the music fresh and exciting.

Rather than singing about horror movies and spooky themes in general, this album is drenched in death. The brief intro, “Eulogy XIII” brings in the dark tones and more serious matter of the album. Things properly kick off with “What the Night Brings.” It’s typical 13 affair with music suited for a black and white horror film that’s hard hitting and exciting. “Blood Sick” is another rager with 13 playing the bad guy once again, something he’s good at. Not only do these songs stand out, they show off the heavier tone of the album.

Wednesday 13 takes things up a notch by gearing towards a heavy metal sound. Not that he hasn’t played with this in the past, but his songs usually fall somewhere between punk rock and hard rock. Here, everything is cranked up leaving you with memorable songs. The heavy music really draws you in and keeps your attention, whereas previous efforts lose you after a few songs.

“Cadaverous,” the strongest song the album, finds 13 returning to his favorite topic: necrophilia. It’s heavy and is brutal as hell. He sounds sinister as he sings “Full moon tonight alright/I’ve got some sick thoughts on my mind/On to your grave site/I’m digging in to see what I can find.” The trudging riffs and intense nature give the whole thing this vicious vibe as if 13 is in a rage with nothing safe in his path.

“You Breathe, I Kill” and “Prey for Me” are violent rampages written from the point of view of a serial killer. They have a similar aggressive, brutal vibe as the rest of the album, but still kicks major ass. “Good Riddance” is more personal being about the death of a relationship, while “Omen Amen” is a throwback to when the religious right feared heavy metal was the devil’s music. Death looms in all these songs making for a slightly more serious endeavor. They also scratch that heavy metal itch when you just want music that’s unapologetic and loud as hell.

Because of the coherent theme, it seems 13 held back on the campy aspect for this album. Normally, his records are filled with over-the-top songs that are fun but can cross the line into downright cheesy. There’s little of that here. While I wouldn’t call his lyrics deep, they are a bit more serious and focused here. It’s a nice change of pace from overt campiness that makes your eyes rolls. Normally, I can’t stand to listen to his albums in full. This time I gladly listened to the whole thing on repeat.

There are a few low points here with one being “Cruel to You.” This sounds like classic Wednesday 13 all the way right down to the music, but it’s so boring. Once again, he spouts about being the boogeyman and stalking a young woman, a topic he’s very familiar with. This song so tiring because it sounds exactly like what he’s done in the past. Everything from the music to the melody sounds like a better 13 song you’ve heard before. Plus, it really doesn’t fit the dark tone of the album.

As always, 13 shows off his sentimental side with a few ballads. “Condolences” has awesome music that sounds like a funeral march, which is very fitting for the gloomy vibe. But weaknesses start to show in the verses, which are half-whispered, half-sung. They’re just not that interesting. The hook is strong and makes the track bearable. Otherwise, it’s okay at best. The closing track “Death Infinity” suffers the same problems as his other ballads. He lays it on real thick and before we get to the second verse, you’re ready to move on. It’s over the top and dull like his other slow songs. Then again, I’ve never been a fan of these types of songs.

Condolences is a solid record. I didn’t expect to like it as much as I did. I didn’t even plan on reviewing it. Wednesday 13 finds a good balance between moving towards a darker, heavier sound while keeping his classic vibe. Not every song is great, but the album is a lot of fun, even though it’s about death. Many of the songs are memorable, unlike his last effort. For once I found I could sit through the entire album, multiple times without getting sick of it. 13 steps up his game for this release proving the old ghoul still has some spooky tricks up his sleeve.