Love Metal

Rank the Videos: HIM 2001 – 2005

Before saying goodbye to HIM, I’m looking back at their videos an ranking them from best to worst. In the second part, we look at their videos from the Love Metal to Dark Light era. While most of their early videos were rough and kind of hard to watch, they improved by the time HIM had their American break. The videos still aren’t perfect, as you’ll see from the Bam Margera directed ones, but they’re visually pleasing and more creative than their previous efforts. Some attempt to tell stories while others are more shameless Ville eye candy. So, let’s take a look at HIM’s videos from 2001 – 2005 ranked from best to worst. Where does your favorite video land?

“Wings of a Butterfly” (2005)

Directed by Meiert Avis, this is HIM’s most stylish video. Filmed in Los Angeles’ Union Station, the clip opens with their iconic heartagram circling the night skies like the bat signal. We then travel up to a tower where the band performs in a dark location and Ville plays with random equipment that may have come from a mad scientist. The video ends with Ville on top of the tower as it’s submerged in water. Not only is the video filled with cool shots, it has an overlay of grainy effects making it look like lost footage or an old movie. It’s definitely their most visually pleasing video to date and remains a highlight in their videography.

“Buried Alive By Love” (2003)

This is the first of four videos Bam Margera would direct for HIM. Set in a lavish LA theater, HIM performs on stage while actor Juliette Lewis watches from the wings. She starts to give Ville some coy looks and start a game of cat and mouse. They finally meet up and walk out the theater hand and hand. Simple concept, but it looks really cool. Not only is the setting beautiful, the clip has this grainy, super 8 quality to it giving it a vintage feel. Though it’s a notable HIM video there are some awkward shots, like Ville looking sick when the camera is spinning around him or how he outstretches his arms with dead eyes not really sure what to do with himself.

“The Funeral of Hearts” (2003)

HIM traverse the icy landscapes of Sweden encountering strange, mythical people along the way in this clip. The first video from the Love Metal period is strange, yet beautiful. Of course, there are the gratuitous shots of Ville looking adorable in his trademark beanie and eyeliner. Along with this are shots of mysterious tribespeople covered in different colors looking like they’re conducting some sort of ritual. You can’t really tell what’s going on, but it’s this enigmatic air that makes the video so intriguing. You want to piece together the story and since HIM doesn’t spell it out for you, it’s open to various interpretations. The video ends with an amazing shot of the heartagram made out of burning bushes. Though after that is a shot of the album, which is lame.

“The Sacrament” (2004)

I still considered this my favorite song and video by HIM. Directed again by Bam Margera, the video is a mix of HIM performing in what looks like a grand mansion and a lonely woman longing over the loss of Ville. It’s straightforward, but there’s something beautiful in the cold scenery and the simplicity of it. Though this is the point where Margera’s video staples come through: saturated colors making Ville as white as a ghost, multiple shots of Ville walking by himself with a brooding look on his face, and a woman sitting on an ornate couch waiting for her lover. And just like the prior video, there are some questionable shots here, like one of Ville’s crotch. Watching this again it’s clear Margera isn’t the best director. He’s a skateboarder, so no one really expects him to be. Him directing these videos were his way of doing something for his friends and being associated with the band, which he seemed to badly want.

“In Joy and Sorrow” (2001)

 This is the best video from the Deep Shadows and Brilliant Highlights era. It starts off as a simple performance clip with plenty of sexy Ville to look at. As the band keeps performing, the lights and equipment around them begin to freak out and emit a  blinding light, including Ville’s mic. It seems the spirit of a (dead?) lover is the cause of this as we see for a brief second. By the end, her apparition appears next to Ville who just keeps on singing. Directed by John Hillcoat, the video is pleasing to watch. Not a lot happens, but the light tricks and Ville’s cool illuminated mic makes it stand out from typical performance clips. Also, this is when Ville cemented his go-to look: long stringy hair, thick eye makeup, silver bands, and the “Your pretty face is going to hell” coat. This is the Ville millions of HIM fans would eventually fall for, myself included.

“And Love Said No” (2004)

The final video directed by Bam Margera feels like a random collage with no theme. The clip is filled with various shots of Ville outside and inside of a church along with random graphics and effects. Some of these shots are beautiful, like Ville singing in the forest or the heartagarm that seemingly appears out of thin air. Other shots look horribly dated and weird, like calligraphy flourishes that weave in between the band or the fading shots and swirls appearing in random places. It seems Margera wanted to go for a notebook feel since the video closes with a book shutting, but he doesn’t pull it off. Again, not a terrible video, but not very satisfying.

“Solitary Man” (2004)

Yet another video directed by Bam Margera. At least it’s an improvement over his previous efforts. Still, it’s nothing too special. It’s primarily a performance video mixed in with recycled footage from Margera’s Haggard movie previously seen in “Heartache Every Moment.” There’s also new footage of a random woman strutting around in her underwear. The video doesn’t do too much but does offer fan service since Ville is singing sans shirt. It’s not a terrible clip, but it’s pretty unremarkable. At least Margera opted to focus on the entire band instead of only extreme close-ups of Ville.

“Heartache Every Moment” (2001)

This is your standard live performance video. It shows various clips of the band in concert mainly focusing on Ville Valo with some occasional shots of the crowd. Multiple clips playing at the same time along with a run through of all of the band’s symbols try to shake things up, but it’s still a vanilla video. Skater and Ville Valo wannabe Bam Margera directed a second version which features a different live performance from the band mixed with clips from his Haggard movie. It’s slightly more entertaining because you’re watching a condensed episode of Viva La Bam. Anyone else think Margera’s love of HIM was a bit weird? He even names himself Valo in the movie. Better watch out, Ville. You could have a Single White Female situation on your hands.

“Close to the Flame” (2002)

Yes, it’s another boring live performance clip. HIM “performs” the song in a darkened venue with a funnel of smoke streaming out of Ville’s mouth. Throw in some customary shots of the band on stage and that’s the whole video. To make it even worse it doesn’t even feature a live version of the song. It’s just the studio version pumped out over footage of a live performance. If the video was actually them playing the song in concert, it had a chance to be more interesting. As it is, it’s just boring especially since the band doesn’t do much on stage.

There are only a few more videos left to cover. Come back next month for the third and final part of Rank the Videos when we look at HIM’s videos from 2005 – 2013.

 

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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 best to worst.

“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.

Venus Doom – HIM

 

Release Year: 2007

Rating: 6/10

Everyone has that one album they tried to like – this is that album for me. I gave this record so many chances thinking it might have been me; maybe I was too quick to dismiss it. Maybe it’s one of those albums that gets better with age. I could be completely wrong about the LP, like I was about Scream, Aim, Fire. But after revisiting it once again, my feelings have not change. I still think this is the band’s worst album despite their good intentions.

The album seems to start off on a good note with opening tracks “Venus Doom” and “Love in Cold Blood.” Hearing the heavy crunchy guitars, energetic beat, and familiar themes of love and death, I thought maybe I was wrong about the LP. But then the big issue kicked in with both tracks: changing gears midway through. On “Venus Doom” after the standard guitar solo, the music slows down to a light lullaby while Ville Valo puts on his deep throat vocals to sound menacing. The whole thing just doesn’t work and feels corny. On the latter track, right when it should end the band picks up the pace and rock out, which doesn’t add anything to the song aside from making it longer. Unfortunately, this issue pops up constantly throughout the album.

So many of the songs like “Passion’s Killing Floor” and even the strong “The Kiss of Dawn” suffer from musical changes. For some reason, the band decides to shift gears and switch up their playing. The problem is it rarely does this smoothly. It often comes off as abrupt making the song as a whole disjointed. “The Kiss of Dawn” is actually one of the better songs from the album, but unless you’re listening to the radio edit, a light muted melody is tacked on at the end. It doesn’t fit in with the song and just makes it longer than it needs to be. It’s such a disappointment because you’ll be rocking out to the song and suddenly it’s like another track is playing when it’s still the same one. It ruins the flow of the music and makes the song dull.

Then there’s “Sleepwalking Past Hope,” which is ten unbearable minutes of slow, soft music, lilting vocals, and lots of melancholy. Like so many of the other tracks, it starts off well with a somber, haunting piano riff that lures you in. But before you can get into the song distorted guitars replace this music making you wonder why it even started with the somber riff at all? It continues with the heavy guitars for about five minutes before it switches tempo and slows down again. After that, a wild solo pops up out of nowhere trying to wake you up and make you remember you’re listening to the song. The entire thing is so entirely drawn out. Did it need to be ten minutes? No fucking way. There is no justifiable reason why the song needed to be so long. All it does it does is bore you before the thing ends. Some bands know how to make lengthy songs that are exciting; HIM is not one of those bands. This album also has their shortest song “Song or Suicide,” which is so short it just feels pointless.

There are a few times when the band gets it right, like on the catchy “Bleed Well.” This is standard HIM all the way: heavy guitars, light melody, and images of love and death. It’s just so satisfying to hear, especially after all the other poor tracks. There’s a memorable guitar riff that opens the song, followed by Valo coyly singing “You had demons to kill,” which will melt you if you used to (or still) crush on him. Another good track is “Dead Lover’s Lane,” which sounds like a leftover from their previous effort Dark Light. It’s another one that sounds like classic HIM and even has a shift in sound during the bridge, but this time, it’s actually good. It flows really well instead of sounding like two different songs.

I really tried to like this album, but no matter how many times I listen to it my feelings are the same. Even if the band didn’t suddenly change tempo in the middle of the songs, it would still be a weak album. Most of the songs are okay at best, otherwise, they’re a little too familiar. And anyone who’s been following the band before this will most likely miss the keyboards, which they swapped out for more guitars. Sure, maybe it is their heaviest album in terms of some of the music, but it doesn’t keep listeners from losing interest. It also has some of their cheesiest lyrics that sounds like they’re taken from a bad goth poem. It’s time to face the truth; I just don’t like this album.

HIM: And Love Said No vs XX – Two Decades of Love Metal

Release Year: 2004

Rating: 8/10

When HIM announced their return to music in 2012, they celebrated 20 years together by releasing an all new greatest hits compilation. The thing is they also released one back in 2004. Is one better than the other? Well, it really depends on what you’re looking for. And Love Said No: 1997-2004 has all their singles up until that point and even includes the new track “And Love Said No.” The latter release is more complete containing “all” of their singles from 1997-2010, meaning fans can find the best songs from later albums like Dark Light and Venus Doom. This one also features a new song, the lackluster and pretty dull “Strange World.”

Release Year: 2012

Rating: 8/10

Yes, the latter release is supposed to be more complete and in some ways it is, but it’s missing three songs previously found on the 2004 LP: the title track, “Close to the Flame,” and “Solitary Man” all of which were released as singles. You would think that if the goal was to have all of their singles on one release then these wouldn’t be missing. Aside from this and the addition of their later material, the albums are almost the same. All the popular songs from Love Metal and their previous albums are included on both, though XX only has the radio edits, which is a little annoying. An improvement to the latter release is the inclusion of the original versions of “Your Sweet 666” and “Wicked Game,” which are better than the re-recorded versions that were on the 2004 compilation.

So is one really better than the other? Personally, I don’t think so. They both have their strong and weak points. Of course if you’re a new HIM fan it’s best to begin with the newer compilation since it has most of their singles, but collectors will want to own both anyway. Since they’ve released yet another album, I’m sure this won’t be the last hit collection from HIM. Let’s just hope the next one is truly complete.

 

Uneasy Listening Vol. 2 – HIM

Release Year: 2007

Rating: 7/10

In 2006, HIM released Uneasy Listening Vol. 1, a collection of remixed, live, and unreleased tracks that wasn’t that impressive. The companion album came the following year and it suffers from the same problems. While there are some impressive tracks and remixes, most of the albums falls flat because it sounds too similar to original versions of their singles or are not that exciting at all. If anything it seems like they had a few good songs they couldn’t include on the first release and included them here with lots of filler material.

Whereas the previous disc seemed to focus on acoustic renditions, this one has a lot of demos. While it’s not anything drastically different from the final version, they are interesting to listen to. “Buried Alive by Love” sounds more raw and fast paced than the final version, while “Endless Dark” has a hard rock edge and lots of fuzzy guitars. These tracks also have alternate lyrics, which makes it interesting for fans to hear at least once. Also, Ville Valo’s voice sounds really great since he sounds bright and clear. The demos are nothing special and don’t differ that much from the album versions, but they’re great to hear at least once.

There are also a number of live tracks here, but none of them are that stunning. Songs like “Wicked Game,” “Again,” and “Right Here in my Arms” sound fine enough, but since they’re pretty straight forward there’s nothing notable about them. If anything they don’t sound that different from the recorded versions. At least that means the band are good live performers. There are some live cover tracks that range from interesting to pretty bad. Their version of Black Sabbath’s “Hand of Doom” is faithful to the original and Valo’s voice works really well on the heavy metal track, but the same can’t be said for their cover of Bad Brains’ “Sail On.” While the music sounds good Valo’s voice just doesn’t work in a punk rock setting.

The band also cover Turbonegro’s “Rendezvous with Anus.” Yes, the song is exactly what you think it’s about. It’s definitely a weird track and the band seems to know this as Valo sounds like he’s trying to be sensual in a comical way. It’s one of those songs you never expect them to do and you’re not sure how to feel about it in the end. There are a lot of alternate versions of their songs that are actually really good. “Sigillum Diaboli” is an upbeat, less damning version of “Stigmata Diaboli” and “Soul on Fire (Erich Zann’s Supernatural Remix)” is heavily distorted and has more of an electronica vibe to it. “Pretending (Cosmic Pope Jam) starts off well enough as a rock oriented version of the track, but it goes on way longer than it should. When it hits the seven minute you’re still wondering why it keeps going. It makes you forget everything that you appreciated about this remix.

The best track on the album is “Beginning of the End (Sad Damned Version).” If you thought the original was creepy and haunting, this version amps that feeling up to 1000. The music is more intense and makes everything sound like impending doom. The guitars sound damning and Valo sounds sinister as he sings “A drop of your blood tastes like wine, today.” This new brooding mood and the already tragic lyrics make it sound like bad things are about to rain down upon you.

Similar to the previous release, this one isn’t that spectacular. It does offer fans unreleased demos and remixes, but most of them are bland or sound too much like the original. There are a few great songs and cover versions that stand out from the rest of the songs, but the album as a whole is pretty weak. It’s one of those releases that’s more suited to HIM collectors rather than casual listeners. Out of the two, the first volume has a little more to offer fans.