Friday, July 23, 2010


Once again the lyrics' attention of the Finnish band called HIM band falls on the theme of monstrosity, the reviving: the one who, in one way or the other, broke the shackles with nature to get back from death.
However, in the track “Heartkiller”, the first track taken from the last album “Screamworks: Love in Theory and Practice”, resurrection is not to be considered the consequence of an abomination in the physical sense, but a radical modification happened at an internal level, spiritual and psychological.
The track we are talking about is realized all around a key theme, that seems to be the same giving the sense to the whole album: the failure, consequence of a relationship that the self hasn't been able to handle, it's been the cause of a change articulated in two phases: a first depression, an internal “death” that has given the origin to a “death” with no more hope and ambitions, followed by a resurrection, that sees the as the protagonist some kind of “monster” in which coexist a new hope and the premonition of another delusion. The creature then generated is a powerful substrate of willingness of recovery and scars already closed, and determined to remain these unless the impending new failure.
The images utilized by Ville Valo in this sense speak clear: a first burning delusion, perpetrated by the world and by the fire of injustice ( a symbol readable even in the shape of purifying fire of something sinful, if examined in a religious point of view that this time won't be considered, even it may be a valid interpretation) destroy what was the hope of the past, weakened by the fear of failure, and succubus to one inevitable variation: love.
The death of the man of the past leads then to a radical change: a resurrection that sees him now in the shoes of Frankenstein, a sad monster and strong of his monstrosity, in immortal conflict with his creator.
The “monster” has also another face, the one of Lazarus, the reviving who came back to life thanks to love, who lives carrying on his body the indelible signs of his wounds.
It is this way that the human being of the defeat, of the delusion and the past finds a redemption identifying in this new shape of bipolar substrate: strong of his wounds and the delusion, and alive thanks to a new love that infuses itself as a caring balm in the scars of the past, making the memory lighter.
And this is how our romantic monster lends himself to a new loving experience with a renewed courage, conscious to be walking again towards a failure: hats off to the return of hope, and the will to understand the reason of all the mistakes and the failures is set aside: the torment of the memory is irrelevant in front of the will to redeem, and the questions made before lose their sense.
It's inevitable to see how the new magnet, and creator of the monster, is itself afflicted by insecurity and sadness, caused most probably by the same delusions that destroyed the protagonist before the rebirth, something that could classify the new “muse” as Lazarus: a part of the monster, a part of the new story destined to end up as a failure welcomed with arms wide open.

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