Listening to HIM is like getting hit over the head with a valentine, except on the front of the card, on the cartoon cupid, frontman Ville Valo has drawn devil horns and a dangling cigarette and signed "love, your sweet 666." The valentine wafts faintly of tobacco, not perfume, and on the inside youre more likely to find a couple drink tickets to the local bar instead of candy hearts. Based in Helsinki, Finland, the band HIMcompleted by bassist Mige, guitarist Linde, drummer Gas and keyboardist Burtonhas taken rock romanticism, cranked up the volume, added a dash of sardonic humor and created a signature sound that critics have dubbed "love metal." HIMs music is the gloom and doom of Black Sabbath meets the tragic romance of Depeche Mode. Its the soundtrack to a young romantic crying through vintage eyes and heavy metal sunglasses, wiping his tear stained face on his Iggy Pop and the Stooges t-shirt, smearing his eyeliner. But its not all that depressing, when the music kicks it kicks hard and there are more than a few songs than can be called upbeat. The music has charisma and the fans know it.
Though relatively new to American listeners, HIM has spent the past eight years courting audiences overseas, and with four albums released and sales reaching a collective 2 million, the group is one of the most successful rock bands in Europe. HIM re-released its album Razorblade Romance (Universal) stateside on October 28 of last year and launched a sold-out supporting club tourtheir first in Americalater that Fall. The band has since signed a major deal with American label Sire Records, re-released the album Deep Shadows and Brilliant Highlights (Universal) on September 28 and is gearing up for their second American tour (supported by Auf Der Maur and Monster Magnet) which kicks off November 12 in Worcester, MA and wraps December 4 in Los Angeles.
Prior to signing with Sire, Ville Valo took some time to talk with SuicideGirls about HIMs American experience and the current state of popular music.
Erin Broadley: You recently wrapped up your first tour in America. How did it go? During our last interview you mentioned that you were looking forward to touring here and wanted to get beaten up by hillbillies in a redneck barthe true American experience. Any such luck?
Ville Valo: Unfortunately we just toured the East and West coasts so we didnt run into any rednecks (laughs). We were saved from all the violence. But the tour was excellent. The weather was beautiful most of the time. All the gigs sold out. Loads of kids knew all the lyrics to all the songs, even from albums that havent been released here yet. It was really a big surprise for us. We thought we were going to have to go back in timetime traveland start from scratch.
EB: I heard that some fans were paying upward of 200 dollars for tickets on Ebay.
VV: Did they? Oh for fucks sake. Well, for us, its always better not to have too many expectations and to just go with the flow because then its always a big plus no matter what happens. Im truly happy. The tour was pretty easy but pretty hectic. We had a few days off in Seattle. Nothing weird happened. It was a new culture and new country for us to experience. It was just us walking around and going to Starbucks and getting a cup of coffee. We didnt really do loads of interviews or any PR. We really just wanted to enjoy the first tour and hang out, like we did in most of the countries in Europe on the first tour. It was just nice to be able to party and hang out a bit and not make it too excruciating.
EB: Do you see any particular similarities or differences between the way the music industry functions here in America as opposed to Europe?
VV: For us, the music industry is a weird situation in the way that now were done with the BMG [record] deal in Europe. So were free men to be slaves again, so to speak. So weve been negotiating with labels now and its looking good. Were in a wonderful situation that there are loads of American record companies that like what we do. And thats a lovely thing. So were just trying to pick the lesser of the evils.
EB: Do you think achieving success via ones creative endeavors is harder here? Los Angeles in particular gets criticized for strangling the creative life out of bands.
VV: Well thats part of the music business as well. Los Angeles and New York are the big centers of the music industry worldwide so of course it can be hard for newcomers who dont know what to expect from the music business. But we learned loads of lessons back in Europe so we know how the business works, more or less. Weve released loads of albums. Weve been working with record labels since 1996. And we never seem to have any problems with it because, like Ive said to you before, their business is to sell records and were just trying to make the record itself. Basically, thats how it is. Were trying to have the band create something beautiful that hopefully one day, 20 years from now, can be picked up by a kid and hopefully have the same effect that Neil Young had on me, or Led Zeppelin or Black Sabbath. Thats what were aiming at. We hope people understand the amount of emotion we put into our work and that they can hopefully get emotionally attached to what we do as well and then create a situation [by hooking up with a record label] where that music is available to listen to.
EB: Last we talked, you mentioned you were working on some rough versions of new songs. How is that coming along?
VV: Yeah Im still writing. Ive got about 14 tracks now. But weve been on tour so we havent had time to get back to a rehearsal place. When we have time off were just going to concentrate on rehearsal and see what happens. Its a complicated thing, especially with our new label situation happening, but were in a good situation where were not in a hurry to get a new album out.
EB: Being that music is an art form and artists are expected to be able to talk about their work, cite references and place it within a historical context, do you think it does the music a disservice when musicians talk about their craft solely in terms of wanting to "rock out" and dont engage in an actual dialog about it?
VV: Well its hard to say. Its like speculating about where the line exists between eroticism and porn.
EB:Theres a big difference.
VV: Yeah but wheres the line? Its the same thing because of course, on one hand, there are bands singing about Jacuzzis and fast cars and silicone boobies and drugs. But for me personally music is a different thing, like Neil Young singing about the "Heart of Gold," emotionally speaking. So none of its bad but its very hard to say where to draw that line. And I think that you do have to draw that line. Music for me is an emotional thing and it really does make me happy. Its not a tool for me to get fame or see my face in the papers or anything like that. Its about the fact that I really do enjoy it. Its about the only thing in this world that makes me happy. And thats a big thing and I want to cherish that. Its magic to me.
EB: When it comes to music scenes and the nature of popular rock these days in New York and in Los Angeles, this whole raw, revival rock thing is still pretty big. Where do you see HIM existing in the midst of all that nostalgia?
VV: Im not thinking about things like that. Most of that New York stuff is shit, like Black Rebel Motorcycle Club, the Strokes, the White Stripes, Jeteven though the White Stripes and Jet arent from New Yorkyou get what I mean, that whole vibe. Theyre all bringing back a style of music from a different era, like 20 or 30 years ago, but theyre not mixing it up with anything new. For me personally, I dont like it so much. We [HIM] find ourselves somewhat like a safe haven in some way, a bit outside of it all, like an Alcatraz, if you know what I mean. Its cool when young people get into Jet and all that stuff but its a shame when they cant admit all their influences. For example with Jet and that one single thats like "Lust For Life" [Iggy Pop and the Stooges] straight on. I dont think those people have anything to lose. What theyre doing is beautiful and theyre doing it for a reason and they shouldnt be necessarily hiding the reason.
EB: Do you think theres a problem with musicians being too derivative these days? I mean, having influences is a given. Youre going to. No art exists in a vacuum. But do you think it insults the music when bands dont cite those influences openly?
VV: Well, its like links on the Internet. Youve got to have links. So people can hop onto a different world from yours, and then from there a different world and through that world a different world. Then people understand that its a very complicated, thick cake with millions of layers. And that makes it a lot more interesting. Thats how is see it. Nobodys doing anything so interesting these days or that unique that one particular act would be the reason to live or be everything that a person needs in his or her life, musically speaking. Its the same thing in visual arts.
EB: Yeah, there was a conceptual and minimalist based photography movement spanning from the early 60s to early 80s that dealt with issues of appropriation where photographers began photographing existing photographs or other found images. So in visual arts its that same thing, everybody has references and links, so to speak. It seems a parallel in music might be song covers.
VV: Yeah there are so many different ways of looking at it. Talking about covers, whether visually or sonically, if a particular combination of notes struck a chord in your heart in a way that you want to be a part of it by covering that song, then theres nothing wrong with it.
EB: Of course not. People adore the covers HIM has done over the years like Chris Issaks "Wicked Game" and Billy Idols "Rebel Yell." What music has been able to hold your attention lately?
VV: I havent really been listening to a lot of stuff. The new Black Sabbath box set, Ive been listening to that. The solo album by John Frusciante, I love that album. Mark Lannagans solo stuff. Some electronic stuff. Some dub reggae. Ive always been a huge reggae fan. I love Johnny Cash but I dont love country music that much. Some genres Im not a huge fan of but there are always exceptions that break the rules. There are always a few people doing it in a way weird enough to grab my attention.
EB: It seems that ever since the popular rock audience got into Johnny Cash, since he did that NIN song, it seems to be more acceptable that country is leaking back into the rock genre, at least here.
VV: I think its the same everywhere, I think it is. The moralistic story about Johnny Cash and the whole Cash revival before his death is that you can be at a decent age and still make it. I found that positive. You dont necessarily have to die at 27 to become a legend.
EB: Definitely not. Are you 27?
VV: Yes (laughs).
EB: Do see yourself at 80 years old in your rocking chair on your porch with your guitar?
VV: Why not? I can see that happening (laughs). Music is the thing that has been there for me since the beginning of my days. But it might be that one day Im going to wake up and be like, "I dont want to play guitar anymore" and instead be a cop. You never know. I dont want to get away from all the possibilities. There are so many possibilities and different ways of wasting your time.
EB: How do you feel about music being used as a platform for things like political or religious beliefs?
VV: Its the same with visual arts, you have some really cool, wonderful striking images that make you think and then again you have wonderful striking images that just take you away from the existing world for a second. And I like the latter a bit more. I like it being like a one way ticket out of here. Thats how I see music at its best. Thats the way its worked for me. Thats the thing about music that makes me happy. Theres loads of shit happening in this world and I dont want to think about that any more than I have to. Of course Ive got my own opinions and ideas but I dont think that should overshadow the music. Music, for me personally, is born out of more personal, emotional things rather than political or
EB: More inward as opposed to outward.
VV: Yeah, exactly.
EB: What does good music do for you, besides provide a sense of relief from the pressures of the everyday world.
VV: Musics always been really cathartic. Its the best drug for me to get away from the everyday pressures just for a second via a good song. So basically, I think music at its best can be everything. It can be totally stupid and very intellectual and emotional at the same time. I dont think all those things shut each other out.
EB:Theyre not mutually exclusive.
VV: Exactly.
EB: Lets talk some more about the tour. Did touring again for Razorblade Romance feel redundant?
VV: I cant complain. I dont want to complain. It was cool to be there [in America], whatever the reason is. Whether its a thing we did years ago, it doesnt matter. It was a great start there. There are loads of people who like what we do and were happy about it.
EB: Some artists and musicians find it hard to go back and look at their older work because all they see are the mistakes or all they hear are the things they wish they could have done differently.
VV: Yeah but there was a reason for all those mistakes to be there and all those successes to be there. That music and the lyrical aspects of Razorblade Romance is so personal to me that, now with me being grown up a bit and meeting new people and doing new things, it makes me look at the same things I was writing about back in the day through a different colored lens. Of course it can be a bit weird but I think its the same for any artist. Hopefully it will be possible to get all our other albums in American shops one day so if people are interested they can hear it but Im hoping that people are going to be interested in what we are going to do, not just what weve done. Looking to the future. I mean, weve been HIM since about 1996 and we always count our previous bands as being the precursers to what were doing now so
EB: Its all pieces to the bigger puzzle.
VV: Yeah and what a weird puzzle it is. Hopefully its something thats never going to be solved, that makes it a lot more interesting.
EB: How has the evolution been from one album to the next? Any regrets?
VV: No. Theres always reasons to make mistakes. Because then you do new mistakes next time. So theyre beautiful mistakes. No matter how hard you work on stuff back in your bedroom to get it perfect, youre never going to do it correctly. Its like a baby, you try different clothing on and then one day you find that when the baby is grown up that he or she wants to wear totally different clothing than what you thought originally. Its like that with what sort of ideas people outside of the band have of HIM. They all see it through a different lens as well which is beautiful. Hopefully, it makes it an endless topic of conversation.
Though relatively new to American listeners, HIM has spent the past eight years courting audiences overseas, and with four albums released and sales reaching a collective 2 million, the group is one of the most successful rock bands in Europe. HIM re-released its album Razorblade Romance (Universal) stateside on October 28 of last year and launched a sold-out supporting club tourtheir first in Americalater that Fall. The band has since signed a major deal with American label Sire Records, re-released the album Deep Shadows and Brilliant Highlights (Universal) on September 28 and is gearing up for their second American tour (supported by Auf Der Maur and Monster Magnet) which kicks off November 12 in Worcester, MA and wraps December 4 in Los Angeles.
Prior to signing with Sire, Ville Valo took some time to talk with SuicideGirls about HIMs American experience and the current state of popular music.
Erin Broadley: You recently wrapped up your first tour in America. How did it go? During our last interview you mentioned that you were looking forward to touring here and wanted to get beaten up by hillbillies in a redneck barthe true American experience. Any such luck?
Ville Valo: Unfortunately we just toured the East and West coasts so we didnt run into any rednecks (laughs). We were saved from all the violence. But the tour was excellent. The weather was beautiful most of the time. All the gigs sold out. Loads of kids knew all the lyrics to all the songs, even from albums that havent been released here yet. It was really a big surprise for us. We thought we were going to have to go back in timetime traveland start from scratch.
EB: I heard that some fans were paying upward of 200 dollars for tickets on Ebay.
VV: Did they? Oh for fucks sake. Well, for us, its always better not to have too many expectations and to just go with the flow because then its always a big plus no matter what happens. Im truly happy. The tour was pretty easy but pretty hectic. We had a few days off in Seattle. Nothing weird happened. It was a new culture and new country for us to experience. It was just us walking around and going to Starbucks and getting a cup of coffee. We didnt really do loads of interviews or any PR. We really just wanted to enjoy the first tour and hang out, like we did in most of the countries in Europe on the first tour. It was just nice to be able to party and hang out a bit and not make it too excruciating.
EB: Do you see any particular similarities or differences between the way the music industry functions here in America as opposed to Europe?
VV: For us, the music industry is a weird situation in the way that now were done with the BMG [record] deal in Europe. So were free men to be slaves again, so to speak. So weve been negotiating with labels now and its looking good. Were in a wonderful situation that there are loads of American record companies that like what we do. And thats a lovely thing. So were just trying to pick the lesser of the evils.
EB: Do you think achieving success via ones creative endeavors is harder here? Los Angeles in particular gets criticized for strangling the creative life out of bands.
VV: Well thats part of the music business as well. Los Angeles and New York are the big centers of the music industry worldwide so of course it can be hard for newcomers who dont know what to expect from the music business. But we learned loads of lessons back in Europe so we know how the business works, more or less. Weve released loads of albums. Weve been working with record labels since 1996. And we never seem to have any problems with it because, like Ive said to you before, their business is to sell records and were just trying to make the record itself. Basically, thats how it is. Were trying to have the band create something beautiful that hopefully one day, 20 years from now, can be picked up by a kid and hopefully have the same effect that Neil Young had on me, or Led Zeppelin or Black Sabbath. Thats what were aiming at. We hope people understand the amount of emotion we put into our work and that they can hopefully get emotionally attached to what we do as well and then create a situation [by hooking up with a record label] where that music is available to listen to.
EB: Last we talked, you mentioned you were working on some rough versions of new songs. How is that coming along?
VV: Yeah Im still writing. Ive got about 14 tracks now. But weve been on tour so we havent had time to get back to a rehearsal place. When we have time off were just going to concentrate on rehearsal and see what happens. Its a complicated thing, especially with our new label situation happening, but were in a good situation where were not in a hurry to get a new album out.
EB: Being that music is an art form and artists are expected to be able to talk about their work, cite references and place it within a historical context, do you think it does the music a disservice when musicians talk about their craft solely in terms of wanting to "rock out" and dont engage in an actual dialog about it?
VV: Well its hard to say. Its like speculating about where the line exists between eroticism and porn.
EB:Theres a big difference.
VV: Yeah but wheres the line? Its the same thing because of course, on one hand, there are bands singing about Jacuzzis and fast cars and silicone boobies and drugs. But for me personally music is a different thing, like Neil Young singing about the "Heart of Gold," emotionally speaking. So none of its bad but its very hard to say where to draw that line. And I think that you do have to draw that line. Music for me is an emotional thing and it really does make me happy. Its not a tool for me to get fame or see my face in the papers or anything like that. Its about the fact that I really do enjoy it. Its about the only thing in this world that makes me happy. And thats a big thing and I want to cherish that. Its magic to me.
EB: When it comes to music scenes and the nature of popular rock these days in New York and in Los Angeles, this whole raw, revival rock thing is still pretty big. Where do you see HIM existing in the midst of all that nostalgia?
VV: Im not thinking about things like that. Most of that New York stuff is shit, like Black Rebel Motorcycle Club, the Strokes, the White Stripes, Jeteven though the White Stripes and Jet arent from New Yorkyou get what I mean, that whole vibe. Theyre all bringing back a style of music from a different era, like 20 or 30 years ago, but theyre not mixing it up with anything new. For me personally, I dont like it so much. We [HIM] find ourselves somewhat like a safe haven in some way, a bit outside of it all, like an Alcatraz, if you know what I mean. Its cool when young people get into Jet and all that stuff but its a shame when they cant admit all their influences. For example with Jet and that one single thats like "Lust For Life" [Iggy Pop and the Stooges] straight on. I dont think those people have anything to lose. What theyre doing is beautiful and theyre doing it for a reason and they shouldnt be necessarily hiding the reason.
EB: Do you think theres a problem with musicians being too derivative these days? I mean, having influences is a given. Youre going to. No art exists in a vacuum. But do you think it insults the music when bands dont cite those influences openly?
VV: Well, its like links on the Internet. Youve got to have links. So people can hop onto a different world from yours, and then from there a different world and through that world a different world. Then people understand that its a very complicated, thick cake with millions of layers. And that makes it a lot more interesting. Thats how is see it. Nobodys doing anything so interesting these days or that unique that one particular act would be the reason to live or be everything that a person needs in his or her life, musically speaking. Its the same thing in visual arts.
EB: Yeah, there was a conceptual and minimalist based photography movement spanning from the early 60s to early 80s that dealt with issues of appropriation where photographers began photographing existing photographs or other found images. So in visual arts its that same thing, everybody has references and links, so to speak. It seems a parallel in music might be song covers.
VV: Yeah there are so many different ways of looking at it. Talking about covers, whether visually or sonically, if a particular combination of notes struck a chord in your heart in a way that you want to be a part of it by covering that song, then theres nothing wrong with it.
EB: Of course not. People adore the covers HIM has done over the years like Chris Issaks "Wicked Game" and Billy Idols "Rebel Yell." What music has been able to hold your attention lately?
VV: I havent really been listening to a lot of stuff. The new Black Sabbath box set, Ive been listening to that. The solo album by John Frusciante, I love that album. Mark Lannagans solo stuff. Some electronic stuff. Some dub reggae. Ive always been a huge reggae fan. I love Johnny Cash but I dont love country music that much. Some genres Im not a huge fan of but there are always exceptions that break the rules. There are always a few people doing it in a way weird enough to grab my attention.
EB: It seems that ever since the popular rock audience got into Johnny Cash, since he did that NIN song, it seems to be more acceptable that country is leaking back into the rock genre, at least here.
VV: I think its the same everywhere, I think it is. The moralistic story about Johnny Cash and the whole Cash revival before his death is that you can be at a decent age and still make it. I found that positive. You dont necessarily have to die at 27 to become a legend.
EB: Definitely not. Are you 27?
VV: Yes (laughs).
EB: Do see yourself at 80 years old in your rocking chair on your porch with your guitar?
VV: Why not? I can see that happening (laughs). Music is the thing that has been there for me since the beginning of my days. But it might be that one day Im going to wake up and be like, "I dont want to play guitar anymore" and instead be a cop. You never know. I dont want to get away from all the possibilities. There are so many possibilities and different ways of wasting your time.
EB: How do you feel about music being used as a platform for things like political or religious beliefs?
VV: Its the same with visual arts, you have some really cool, wonderful striking images that make you think and then again you have wonderful striking images that just take you away from the existing world for a second. And I like the latter a bit more. I like it being like a one way ticket out of here. Thats how I see music at its best. Thats the way its worked for me. Thats the thing about music that makes me happy. Theres loads of shit happening in this world and I dont want to think about that any more than I have to. Of course Ive got my own opinions and ideas but I dont think that should overshadow the music. Music, for me personally, is born out of more personal, emotional things rather than political or
EB: More inward as opposed to outward.
VV: Yeah, exactly.
EB: What does good music do for you, besides provide a sense of relief from the pressures of the everyday world.
VV: Musics always been really cathartic. Its the best drug for me to get away from the everyday pressures just for a second via a good song. So basically, I think music at its best can be everything. It can be totally stupid and very intellectual and emotional at the same time. I dont think all those things shut each other out.
EB:Theyre not mutually exclusive.
VV: Exactly.
EB: Lets talk some more about the tour. Did touring again for Razorblade Romance feel redundant?
VV: I cant complain. I dont want to complain. It was cool to be there [in America], whatever the reason is. Whether its a thing we did years ago, it doesnt matter. It was a great start there. There are loads of people who like what we do and were happy about it.
EB: Some artists and musicians find it hard to go back and look at their older work because all they see are the mistakes or all they hear are the things they wish they could have done differently.
VV: Yeah but there was a reason for all those mistakes to be there and all those successes to be there. That music and the lyrical aspects of Razorblade Romance is so personal to me that, now with me being grown up a bit and meeting new people and doing new things, it makes me look at the same things I was writing about back in the day through a different colored lens. Of course it can be a bit weird but I think its the same for any artist. Hopefully it will be possible to get all our other albums in American shops one day so if people are interested they can hear it but Im hoping that people are going to be interested in what we are going to do, not just what weve done. Looking to the future. I mean, weve been HIM since about 1996 and we always count our previous bands as being the precursers to what were doing now so
EB: Its all pieces to the bigger puzzle.
VV: Yeah and what a weird puzzle it is. Hopefully its something thats never going to be solved, that makes it a lot more interesting.
EB: How has the evolution been from one album to the next? Any regrets?
VV: No. Theres always reasons to make mistakes. Because then you do new mistakes next time. So theyre beautiful mistakes. No matter how hard you work on stuff back in your bedroom to get it perfect, youre never going to do it correctly. Its like a baby, you try different clothing on and then one day you find that when the baby is grown up that he or she wants to wear totally different clothing than what you thought originally. Its like that with what sort of ideas people outside of the band have of HIM. They all see it through a different lens as well which is beautiful. Hopefully, it makes it an endless topic of conversation.
VIEW 25 of 38 COMMENTS
Those who haven't seen HIM live should really check them out, mindblowing