Ôîðóì » HIM â ÑÌÈ » Ðåöåíçèè íà Tears On Tape » Îòâåòèòü
Ðåöåíçèè íà Tears On Tape
Anastasia: Äàâàéòå îòäåëüíóþ òåìó ñîçäàäèì, êàê âñåãäà. Ïðîñèì ïåðåâîä÷èêîâ ïîìî÷ü, ïîòîì âñ¸ îòïðàâèòñÿ íà ñàéò Classic Rock Magazine
Îòâåòîâ - 25, ñòð:
1 2 All
Anastasia: Substream Music Press
Anastasia: http://www.popmatters.com/pm/review/171054-him-tears-on-tape/ Over the course of time HIM have found their place in the world as one of those acts who keep releasing music for themselves and their fans while the rest of the world has largely forgotten about them. Back in the early ‘00s the world was still their oyster: they were absolutely massive in their native Finland, managed to have a respectable amount of popularity all around Europe and even managed to touch upon the ever-evasive American markets, even if largely thanks to their friendship with the then-cool Bam Margera. The later albums – 2007’s Venus Doom and 2009’s Screamworks in particular – stretched the band’s musical boundaries and gained the favour of the critics, but the hits waned away. In 2013 HIM are in a curious position: technically their latest releases have been some of their more sonically interesting ones, but the long breaks and radio silence in-between them, the largely pointless second singles compilation that reeked of running out of inspiration and the recent haphazard comeback gigs have made them seem like a band without direction. Tears on Tape is an album that HIM needed to make at this point. It doesn’t try to reinvent the wheel or introduce new elements, even within HIM’s tried and tested style. The songs do not take additional twists and turns (most clock in at a comfortable three and a half minutes and rely on standard song structures) and they drive themselves comfortably home utilising HIM’s usual mixture of power chords, melodic keyboards and lovingly melodramatic romanticism. Instead, the album focuses on showcasing that the band are still alive and healthy. There’s a fire in the band’s belly again, audible both in the band’s performance and in how rejuvenated frontman Ville Valo sounds. If you’ve not paid attention to the band for a while, Tears on Tape makes it feel like they were never really gone to begin with – place this next to some of their earlier albums and you could be forgiven to think it was from the same period. It feels like the start of a new chapter, whether intentionally or not. Because HIM continue to be a creature of their habits and this album isn’t the one to change that, it means that the band’s main flaw across their entire lifespan is still present. While they have the gift for a great chorus that’ll stay in your head even after a single listen, their verses continue have a disappointing tendency to act as indistinct filler between the peak moments, steadily pacing along with their chugga-chugga riffs until the song sees fit to lift itself up for the refrain. The quality of the songs is steadily enjoyable - even if not brilliant per se - throughout the album but they only come alive during the choruses, and if there’s one thing that could raise such particularly excellent moments as “W.L.S.T.D.”, “Love Without Tears”, “All Lips Go Blue” or “Drawn & Quartered” to an even higher pedestal, it would be for the rest of the song to match the chorus. While it’s actually not as bothersome as one would imagine, it’s the one thing that could make Tears on Tape a genuinely great album instead of a good one. But nonetheless, despite their lacking verses the abovementioned highlights are still genuinely good tracks and even the most bog standard, run-of-the-mill HIM standards here are still more than listenable because the band sound like they care about every note they play. To put it in a nutshell, Tears on Tape is a well done album of HIM at their most HIM-like. The fans are guaranteed to embrace it and those who never liked the band to begin with won’t be converted by it, but anyone curious and viewing the band from the sidelines might just be positively surprised by its contents.
Anastasia: ìäà, êîãäà íàøåãî íàçûâàþò "óæàñíûì ïîýòîì", ÿ ìàëîñòü çâåðåþ...
Anastasia: http://www.mediamikes.com/2013/05/cd-review-him-tears-on-tape/
NaturalDisaster: metality.net
heart-healer: 20/05/2013 alt sounds review
Anastasia: http://yes.com.ru/life/music/new_record/him_tears_on_tape/
V.I.P.: Anastasia buahaha
Whisper: With beautiful almost lullaby-ish melodies, rock ballads, amazing guitar riffs and perfect drum beats, these Finnish Helsinki love metal legends HIM, reinvented themselves once again with their eighth studio album ´Tears on Tape´. The album sketches a new HIM, but you still clearly feel the vibes from the past very present. The charismatic frontman Ville Valo bleeds out his soul, in haunting lyrics, played with open veins. The twilight sound in Villes voice complemented by talented musicians, makes Him a very unique band. ´Tears on Tape´ is poetically beautiful written, but not as beautiful as their previous album ´Screamworks: Love In Theory And Practice, Chapters 1 – 13´ where you were left with the feeling that Baudelaire or Poe could have held the pen. `Tears on Tape´ is their first album in 3 years and it seems to be about the music. It got the vibe to it, of 5 musicians met up, and just did what they loved the most, playing. With songs like “No Love”, “Love Without Tears” “Drawn And Quartered” and the fantastic instrumentals “Kiss The Void” and “Trapped In Autumn”, they show everyone that they are back and better than ever. Listen to the album as one song, it have that rare thin red line to it. It takes you through very scale of your emotions. The first 3 singles from the album: ´All Lips Go Blue´, ´Tears on Tape´ and ´Into The Night`, were released in different countries, on different dates, like the album itself it released by different labels. ´Tears on Tape´ is inspired by Roy Orbison, Black Sabbath, Neil Young etc… Have you never enjoyed HIM before I recommend this unforgettable album. (4/5) Èñòî÷íèê
heart-healer: rockfreaks.net Tears On Tape Written by: PP on 09/07/2013 23:09:00 So I admit it is weird to review a HIM album while the sun is shining and it's 25 degrees outside. After all, the band's self-prescribed 'love metal' tends to be more gothic and dark than it is bright and cheerful, so it's absolutely more suited for the miserable rainy weathers of the fall months in Scandinavia. That said, eighth studio album "Tears On Tape" is another solid demonstration why HIM are the best band in their style by a long shot, leaving all other gothic soundalikes far behind both in terms of songwriting and charismatic imagery. Three years ago, "Screamworks: Love In Theory And Practice" was a masterpiece of an album that basically shoved a foot in anyone's mouth with prejudices attached to the band. It did this through love songs written like no-one ever writes them these days, leaving behind a genuine sound that felt heartfelt, hurting and romanticized in the best meaning of each of those words. "Tears On Tape" isn't quite the spectacular demonstration of love song writing ability, mostly because it's a little bit heavier (guitars are way more crunchy, for instance), and the best love songs are those that are maddeningly catchy softer ones with slightly over-the-top cliché lyrics. On this album, Ville Valo and co have gone for a more complete sound that explores the same thematics as HIM before, but through a slightly adjusted and differentiated sound. It feels darker and more introspective for starters, but also more experimental in terms of the soundscape and approach to songwriting. But not to worry. "I Will Be The End Of You", for instance, is as infectiously catchy as the band's best material to date. It's impossible to avoid singing along to the smooth chorus melody that sees a slight strain in Valo's voice at a perfect timing to make it into a winner. The title track's classical piano adds a nice touch to the crunchy guitars, and its slow tempo means we've got a great love ballad in our hands once again - especially because the chorus is as good as it is. "Into The Night" has an intriguing contrast between Valo's slightly whiny high pitch and the dark baritone vocals that have been made this way through decades of chain-smoking. "Hearts At War" is another instant classic, and will be sure to initiate sing alongs at live shows. The last third of the album isn't as strong as the beginning and the middle, but even here the songs are reasonably good, with "W.L.S.T.D" (When Love Starts To Die) providing yet another heart-crunching ballad dissecting love in a way that only a true romantic at heart is able to. In essence, HIM get way too much hate for their imagery and their admittedly anti-testosterone approach to songwriting, while in reality they write fantastic love songs that still aren't matched by anyone since the glory days of Bon Jovi and Aerosmith.
ïîëíàÿ âåðñèÿ ñòðàíèöû