Finnish “love metal” band HIM are finally back with their 7th studio album, Screamworks: Love in Theory and Practice. The album has a due date of February 9th, 2010 here in the states, but let me tell you that it’s probably in your best interest to start preparing now as this is easily the band’s best work in quite some time.

Beginning with the near pop punk intro chords of “In Venere Veritas,” we quickly find HIM to not only be back on the scene, but with more energy than we’ve seen from them in quite awhile. Ville Valo comes across early as Matt Skiba did during the Good Mourning years of Alk Trio with his emotion-drained vocals and borderline graphic storytelling that is only amplified by the near perfected instrumentation of tracks like the late 80’s goth rock jam “Scared to Death” or the much progressive [and lead single], “Heartkiller.” The band swings in and out of rock subgenres with flawless progression that truly displays just how versatile they’ve become over the past 7 albums.

As the album progresses, the general dark tones we’ve come to expect continue to prevail as tracks like the near power ballad like “Disarm Me [With Your Loneliness]” will most likely find the group’s target market of depressed teens and lonely 20-somethings weep while those who simply can’t connect with Valo’s heartache will most likely find everything a bit “dramatic.” However, I think the real strength of HIM, especially after hearing this record, comes from their overall songwriting ability. It’s not just the dark, ambient tones that are covered in sob-worthy poetry, but the overall feel of each note that comes booming through the speakers. For instance, “Disarm Me,” at one point, goes from a near squealing guitar solo to a bridge full orchestral backing and it does so with such ease you’d believe it common in everyday music. It’s simply moving. However, like the line about the devil counting teardrops in the rain from “Love The Hardest Way,” there are times these Finnish rockers go a bit too melodramatic to be taken seriously. It’s a fine line between evoking sympathy and evoking laughter and at times, it’s a bit blurred on this record, but when you’re talking goth rock, that’s bound to happen. Also, with a band like this, for every person that laughs at some obtuse metaphor for depression there is one or ten people that find it to be the most beautiful thing they’ve ever heard. That’s just how it goes.

More of the review can be found here: