by
H.I.M.
- Record Label: Sire/Warner Bros.
- Release Date: Feb 9, 2010
User Score
Universal acclaim- based on 144 Ratings
User score distribution:
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Positive: 125 out of 144
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Mixed: 1 out of 144
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Negative: 18 out of 144
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May 20, 2020This review contains spoilers, click expand to view.
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Aug 12, 2016Although is not a bad album, I think H.I.M. tried to go a little bit more mainstream with this album.
Something that will attract new listeners. Some kind of pop-rock choruses but other than that it still feels like H.I.M.
Nice to see the band trying something a little different. -
Jun 8, 2011The tracks' composition may seem similar but the great sound and nice lyrics make this album a must for H.I.M fans and is in my opinion their best just after Razorblade Romance.
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Dec 10, 2010
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IgorS.Mar 2, 2010Very good album.
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FredH.Feb 26, 2010Aside from the autotuned mess that is the first track, this album is fantastic.
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DinC.Feb 23, 2010Great work. Great sound. And great band.
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CoopE.Feb 23, 2010Its so f*cking awesome i love from the first track "In Venere Veritas" to the space techno finisher "The Foreboding Sense Of Impending Happiness" its an amazing record its a new and improved sound from a break away from the "Love Metal" sound and which sounds like a up beat "Razorblade Romance" with a lot more keyboard synth sounds i love it its a great improvement on the new HIM sound.
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IrynaA.Feb 23, 2010Perfect album. Very impressive and passion.
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AlexandraZ.Feb 23, 2010To me this album seemed to become something totally new from the band without them losing the features I have always loved them for.
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Awards & Rankings
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This is a solid album, rife with brooding love metal and big choruses, but while this is HIM’s most accessible album to date it’s also the most unpalatable, as Ville takes one step too many towards self-satire.
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Alternative PressWhen the band are a little more concrete and less spooky, the results are especially compelling, but Screamworks is ultimately successful in its blending of melody and muscle. [Mar 2010, p.90]
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The material sits within the band’s canon well enough to please longtime fans, and listeners looking for some kind of middle ground between Evanescence, late-period Queensrÿche and Fall Out Boy will more than likely find a few wicked gems to hang their heads to.