Venus Doom

Rank the Videos: HIM 2005 – 2013

With only a month away from seeing the band live for the final time, it’s time to wrap up the series and take a look at HIM’s final videos. Continuing with Dark Light and moving towards the Tears on Tape era, the videos aren’t as awkward or cheesy as their early ones. Unfortunately, their videos steadily become predictable. Most of these clips look similar to their other ones or is just yet another performance clip with the only difference being the setting. While not terrible, they aren’t as memorable as their other clips. That being said, here are HIM’s videos 2005 – 2013 from best to worst. Check out the first parts here and here.

“Killing Loneliness” Version 1 (2005)

For one of HIM’s biggest singles, the band filmed two videos: one for the European the release, the other for the US. The European version, directed by Noble Jones, finds the band fulfilling various sexual desires. Starting with a dreary, grey setting, we follow a woman walking to a seedy club emblazoned with the Heartagram symbol. Once inside, she gets her coin, also featuring the symbol, and enters a nudie booth. After paying the fee, the band is revealed to be inside the booth performing. The rest of the clip follows different people as they watch HIM perform and begin to enjoy themselves a bit too much. One woman even comes prepared in her lingerie and doesn’t hesitate to start rubbing herself. Ville Valo takes full advantage of his sex symbol status as he chooses one lucky lady and sings in her ear. It’s a slightly naughty clip that goes beyond the average performance video. Though there isn’t any nudity, the sexual situations are somehow still too steamy for American shores.

“Heartkiller” (2010)

This video by James Copeland actually has some clever image trickery at play. Taxidermy figures of tigers, owls, ravens, and boars are carefully layered over each member of the band and one fierce looking lady. Sometimes the image overlying doesn’t exactly work, but when it does, it leaves some head-turning visuals. The most notable moment is opening where flashes of a skull synch up perfectly with Ville. Upon release, I wasn’t impressed with the video and only remembered a shirtless Ville bathed in red light. Revisiting it, I find it to be one of their most creative videos. The imagery is awesome and really sticks with you once the video is over.

“Into the Night” (2013)

What is now HIM’s final video shows them playing the song while mysterious robed figures gather bricks and lay them out in a pattern. The people range from old to young carrying bricks to the middle of a sandy area. At one point Ville has his own brick and tosses it to one of the figures. By the end, we see the result: a Heartagram, what a surprise. The video is nothing amazing, but the robed figures add a sense of mystery, at least the first time you see it. And if you’ve ever spent time in class scribbling out Heartagrams, it brings on a pleasing sense of nostalgia. It’s weird thinking this is HIM’s last video (as of now). It wasn’t meant to be a goodbye and it doesn’t feel like one. There’s no sense of finality to it, which is actually kind of nice. Watching it now, I don’t feel any sadness even though the band is ending. Rather, it makes me remember how much joy they’ve brought me with their music, unlike something like Blink-182’s “Not Now,” which I still associate with frustration due to their break up.

“Killing Loneliness” Version 2 (2006)

Sadly, the US version of this video is quite lame and predictable. Directed by Nathan Cox, the majority of the clip features the band performing in the middle of a club. Other shots include Ville walking through the crowd and a cameo by Kat Von D, seemingly looking for the singer. When the two finally meet, she brands him with a new tattoo of Edgar Allen Poe’s eyes. Not really sure what this random exchange has to do with the rest of the video, but it’s in there. It’s another straightforward performance clip and ends up being dull compared to the previous version.

“Tears on Tape” (2013)

HIM delivers a cryptic video for this single. Beginning with shots of the band members playing in front of a projector, we see Ville scribble out mysterious symbols. Soon, the symbols are replicated everywhere by different people. They serve as tattoos, graffiti, secret notes, an eerie flag, and even some sort of decoration for a horse. This scene is just confusing. Why paint a horse in the first place? The symbol widely spreads similar to the Heartagram, which has been adopted by people who don’t even know the band. It’s a decent video that shows how these weird symbols take on different meanings for people and even bring them together. The only laughable thing is Burton. What the hell is up with that shot of Burton sitting on the floor tapping the keyboard so unenthusiastically? Seeing him tap on his keyboard giving unsure looks at the camera breaks the serious mood the video is trying to set up.

“All Lips Go Blue” (2013)

Directed by Eugene Riecansky, this video collects a bunch of cool imagery and puts it all together with no clear concept. We see giant chess pieces that crumble, violent crashing waves, gnarled trees stolen from a Tim Burton set, and the tumbling of a giant house of cards. Meanwhile, the band is superimposed over these scenes watching the madness unfold, though they look kind of bored by the whole thing. The video is beautifully shot and the graphics are cool to look at, but the unclear focus and the dull look of the band don’t make it the most exciting clip.

“Kiss of Dawn” (2007)

For this clip, director Meiert Avis relies on some of the band’s old video tropes: shirtless Ville and questionable effects. We see HIM recording the track along with shots of Ville looking pensive while writing. The rest of the video finds the singer shirtless, wandering through a Gothic setting while a beautiful apparition passes by him. What this has to do with the story or the song? No clue and unlike Avis’ work on “Wings of a Butterfly” the Gothic scenes look cheesy. Not a terrible video, but like many other HIM clips, nothing notable – just an excuse to stare at Ville for four minutes.

“Scared to Death” (2010)

Directed by Eugene Riecansky, this one has a somewhat similar vibe as “Gone With the Sin:” Ville walking through eye-catching landscapes. This time he’s walking through the eerily empty city streets with his trusty guitar. He gives the camera the typical brooding looks throughout his journey. We then see the other members walking the streets as if trying to meet up for band rehearsal. Out of nowhere weird 3D triangles begin raining from the sky. In one of the cheesiest moments we see one close up and it shows a promo photo of the band as it passes. While the video may be interesting to watch at first, it’s not all that memorable, but hey, at least Ville looks handsome.

“Bleed Well” (2007)

Meiret Avis returns one last time to direct this performance clip. Taking the same grainy effect he used on “Wings of a Butterfly” the band performs the song with gusto and joy. That’s about it. It’s another boring performance clip from the band. At least it looks like they’re having fun; the video opens with Ville laughing and the smile he breaks into while singing is infectious. It’s the one thing about the video I actually remember. Other than that, it plays out like their other performance videos.

“Strange World” (2012)

A rather scruffy looking Ville and crew plow through this Ke cover in this video. Directed by Eugene Riecansky, the clip is nothing but HIM performing the track in the studio. Aside from the band pulling some questionable “rocking out” faces, nothing happens. It’s your typical “we had no ideas, so let’s just perform” video. The most distracting thing is Ville’s lip-synching. Something about it seems off as if he’s trying too hard or not hard enough. Maybe he knew the video would be a bore and decided it wasn’t worth putting in the effort.

And with that, we’ve covered all of HIM’s videos. Some are now iconic and ones that I will gladly watch on repeat. Others are tough to sit through with corny visuals and awkward performances. And rest are just predictable. Still, it was a blast revisiting all of HIM’s videos and seeing their evolution from a small Finnish rock band to global superstars. Doing this series brought back a lot of fond memories when I first got into the band and a lot of them were just fun to watch again. Though the band is breaking up, they at least left us with great music we can still rock out to.

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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.