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spinef0ryou · 2 years

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Interview with Ville Valo in Metal Hammer magazine, words by Alexander Milas. Transcript under the cut

It’s a gloomy November evening in London and inside the crystalline bowels of the Universal Music tower there are dark goings-on under a winter moon. An arcane gathering of power-brokers, decision makers, and tastemakers, has convened to hear the first, dulcet tones of a new record in its entirety - a lyrical and melodious exsanguination called Neon Noir. Less an album, the subject of tonight’s attention is more like a swan song played in reverse or a departed loved one’s voice playing in the wind. We’ll get to that.

There are no robes here, such vestigial ornaments long since done away with to provide anonymity on public transportation, but the importance of these proceedings is in no way diminished. This is how the music industry in all its mysterious dealings determines where and when its various powers are to be invoked - an Illuminati-like network of aligned hands is this rogues' gallery of journalists, label managers and festival promoters. Even the helmswoman of the gazette you hold in your verv hands can be seen lurking in the shadows.

At the centre of the dim chamber stands a lone, flat-capped figure, his chiselled visage peculiarly, vampirically unchanged by the many years since he first graced the cover of an international publication such as this, and let it be said that he was never a stranger to these folios.

If anything can be said of Ville Valo's appearance it's that he could teach anyone half his age a thing or two about self-presentation - and, for the record, they'd be 23 at time of publication. Svelte, casually besuited and elegantly understated in his attire - all different hues of black, obviously - he's been affably chatting with the gathered conclave with such fluidity and confidence that anyone would think it's something he does every day, and anyone who knows his incongruous penchant for reclusiveness when off the stage would suspect that maybe he's changed since we saw him last.

For the record, he does not, and he has not. Ten long years have passed since His Infernal Majesty's final release, the career summation that was 2013's Tears On Tape, and it has been five years since Him played their final note on the second of two sold-out nights at the London Roundhouse in December of 2017. Their concluding song was the aptly chosen, syrupy dirge of When Love And Death Embrace, and the mortuary pallor of its refrains couldn't have been better matched to the forlorn mood of that distinctly funereal moment.

For many, it was a farewell to one of life's few constants: Him were less like a band and more like a comforting gothic world to those who fell prey to its blackened enchantments, and as if further affirmation is needed, no one in the field of music has since emerged to even remotely fill the heartagram-shaped hole left in Ville's wake. As the lights in the venue went up to reveal no shortage of streaked mascara, it would have been impossible to surmise whether we'd ever hear from Ville again - such was the finality of that tour and the deathly vibe of that night.

More desolate still was the long silence that ensued after the 26-year adventure he spearheaded under an iconic banner designed by his own hand. Eight records, ten million sales and countless fans getting heartagram tattoos of variable quality were the tallies of Ville's musical ledger.It was over. Him was dead. Their founder was gone. And then, quietly, headless blooms began to flank his headstone.

First came the news that he was blowing off the cobwebs to undertake a tour of Finland to record and perform songs by the late, beloved Finnish singer-songwriter Rauli 'Badding' Somerjoki, with Somerjoki's old band, Agents. The project smashed the charts in Finland before they eventually disbanded.

More silence followed until March 2020, when an unheralded EP was released under a new banner, VV complete with an updated reimagining of the famed heartagram. A portent of what was to come, Gothica Fennica Vol. 1 was far from alien to anyone familiar with Him's long-established sound, but it also bore the hallmarks of a songwriter unbound by the restraints of collaboration or co-writing. As the world smouldered, it was a hopeful omen that perhaps not everything had been lost to the pandemic.

We retreat from the listening session to a quieter room to shine to shine a neon light on the story of the rebirth and toil that followed, a res-erection-

Ville shoots a look as if to say, 'You're not gonna write that, are you?' Well…

“‘Promo tours are like Bullet-point for my Valentine.”

Ville has sunk into his armchair, a body deflated. We've just been talking about the sometimes less-than-rock'n'roll demands of album promotion, and how while just 10 years have passed since Him's final release, a lifetime of change in the industry's inner workings has followed. It's Thursday and Ville's already done the rounds in Berlin this week, plus a big photo session, too - rumour has it that a smoke machine for a cover shoot triggered a confrontation with security here yesterday. Whoever the photographer was that bolted the door shut so the shoot could continue remains a mystery at the time of going to press.

But despite Ville's tiredness after two days of media-based pokes and prods and his first international flight in five years, he's still exhibiting a remarkably playful way with words: the product of voracious reading and self-confessed Anglophilia that can make it easy to forget this is his second language, although as we'll soon discover there are some words that resist translation.

We're reflecting on how many times he's appeared in the pages of Metal Hammer. I produce a photo from many years gone by, taken by Mick Hutson. It's Ville, looking like a goth deer caught in headlights, sitting in the back of a limo between the late Dimebag Darrell and Mötley Crüe's Nikki Sixx on his way to the Metal Hammer Golden God awards. He smirks.

"It was a playground, wasn't it?" he says of the Ville of yore. "Oh my god, that was a weird one. I remember Dimebag - he'd been up all night, and there's me stuck in the middle. I gave my Golden God award to Zakk Wylde's daughter. He told me she was a huge fan and I'd had a sip too many, so…”

And let it be said that by the time Him went stratospheric - a runway stretching between 2000's Razorblade Romance and 2003's definitive Love Metal - there were few publications that weren't peppering their pages with images of Ville. photogenic but, more importantly, hilarious, his wry and dismissive self-regard tempered the styled polish of his many covershoots. In a time when emo was king, Ville brought something current but gleefully out of step with fashion, musical and otherwise, but he persevered because, arguably, beyond the music he possessed that rare quality that escapes so many whose trade is on the road and in music studios. He was interesting, and Him and their legion of fans were their own movement. For a time, if you ever stood at the back of one of their sold-out shows, it looked something like Beatlemania directed by Tim Burton.

“What would you say to yourself back then?” He smiles and takes a moment before replying.

“It isn't a horror movie thing, but my oldest self has whispered to my younger self many times. You know, I could have done stuff way wiser in the sense of trying to become more successful in terms of money, listening to record companies or whatnot, because people had a damn hard time trying to figure out what we were all about. I wouldn't do anything differently because then I wouldn't be here - that's the beauty of it."

And, tracing the course of what Ville did, what he's doing now, there's little to suggest that anything has changed in terms of his resistance to the common methods of self-promotion. In a time of compulsive micro-blogging and algorithm-feeding content, the official 'Heartagram' Instagram account posts at roughly the same rate as the Vatican. Be it about the preservation of mystery or a refusal to play the game, let it never be said that he didn't do it his way.

“I’m a slow learner. I only learned about the eggplant emoji yesterday! But as for those whispers, it's something to do with the nonlinearity of time," he continues. "I had some foresight to the pandemic, though, and found myself a house with a photography studio which I turned into a music studio. It's one big room that enabled me to spread around all the weird pieces of kit from all eras - sort of my creative central. During the pandemic, that's all I did. There was no rhyme or reason, I just thought it was time to move on and do something different. It could have been my older self whispering to my younger self in the middle of the night, like, 'Now's a good time. You'll understand it better in a few years.' So yeah, it could be one of those things."

We notice a white wall in the corridor is covered in dozens of Sharpie signatures from fellow artists who’ve passed through. Some are small, while pop groups Bastille and Westlife have gone big with huge cubital letters. Unimpressed, Ville reaches for a glow-in-the-dark V sticker from his breast pocket and wryly sticks it up at the top. Always a rebel.

Was it hard to decide which direction to go in after Him?

“Musically, I'm a pair of bell-bottoms," he says. "If you want to follow hits, you're always going to be too late. Music and art is essential for my wellbeing, it's the air that I breathe - it's natural for me, but at times I've felt like a human among the lizard people, an infiltrator from another galaxy. The only thing I can do is the thing I can do."

Of course, it raises the question of how VV and indeed Neon Noir came about. That Ville has always presided over every detail of his music is no secret - there's never been a doubt as to whose vision it all was, and the ending of Him is just as important as the beginning we're here to discuss. As anyone who's seen the end of a relationship will know, the signs of impending demise can appear long before the cracks emerge, and the conclusion of Him was no different. To paraphrase a singer named BB on the prologue to VV, the thrill was gone...

"Expiration is funny when it comes to bands," he says matter-of-factly. Whatever wounds may have been inflicted, they have long since closed, and he's at ease when prompted on what went down.

"It didn't happen overnight - we'd started having trouble after Tears On Tape. Gas (Lipstick] had left the band and we found a new drummer, which was fantastic for a time, but we just couldn't find it in ourselves - a new album. We started working on ideas, but they didn't sound very good. The adult way to approach things is that if it's something you really do love, you have to love them enough to let them go when the right moment comes. The spark was no longer there, so timing-wise, it was good - I wouldn't have minded it to happen a little earlier because now I see the end of my own career in the distance. I never wanted it to feel like a job. You'll see bands touring where it quite clearly is. Something so central needs to be full of passion and laughter and joy and tears - dramatic, like a pint of milk."

Dairy funny. Have you been in touch with the guys since then, we ask?

"I haven't been in touch with Gas in more than 10 years," comes the reply. "And Linde [Mikko 'Linde' Lindström, guitarist] is quite a solitary fellow who's not a big talker anyway. But Mige [Mikko 'Mige' Paananen, bassist] was a bit of a Rick Rubin on the album. He was like this weird guru that came by every three months and gave me a stamp of approval, like, 'Yeah, this is fine.' He's one of my earliest childhood friends and one of my best mates still, so we keep in touch - that's rare. It's been 35 years or something..."

It was that relationship that provided something of the lifeline that Ville needed. He describes the feeling after Him's final show as something akin to phantom limb syndrome, where amputees report sensation in appendages that are no longer there.

"I felt like an outsider, an outcast," he says. "[I felt like] I didn't understand myself, and that the world doesn't understand me or that I didn't belong. It's a profound feeling, you know, to existentially feel that you don't understand the world or your place in it. Funnily enough, how I got through that was writing. The pandemic really painted everyone into a corner. I wasn't suicidal, but there was a tinge of depression as well, not seeing tomorrow or the worth of the day after tomorrow. People reacted in different ways. I forced myself back to music, and music gave me the gift of song once again. I was able to pull off a couple of Sabbath rip-offs, so that made me feel better. That was a big deal."

Ville will go on to animatedly recount how the loss of purpose and trajectory coupled with the worldwide shutdown was in some sense the perfect reset post-Him, and while he hit a very low ebb, it was precisely the kind of downtime he needed and hadn't had since Him's formation when he was just a teen.

"There was no scheduling, nobody to communicate with about what I was working on, so it was very unfiltered intuition, straight to tape or whatever recording medium, and I found myself having goosebumps like I'd never had before. Well..." his eyes impishly go to the ceiling, "musically, at least. I'm scared of stuff being really repetitive - it's nice to enjoy a binge watch on Netflix, but you're never gonna get the time back. That doesn't mean, 'Don't do it! But enjoy the now, take advantage of the time. That's what we'll be doing when we go on tour with the band next year, challenging myself to do lots of things and not step into a sort of zombified existence. People are so distracted…”

At the beginning of the Divine Comedy, the main character - Dante Alighieri's Pilgrim - wrote of finding himself in a dark wood halfway through the walk of life; the straight path, lost. It was a roundabout way of describing the confusion that can come with middle age, but in his mid-4os and with the deep shadows and brilliant highlights of an illustrious career in the rear-view mirror, I wonder aloud if the same could be said of the current predicament.

Dante's come up because, as is often the case with Ville, the subjects of language and literature are never far away. I ask him to elaborate on that tinge of depression he's mentioned, and he says one thing. and lets it hang in the air: "Kaiho."

Sorry?

"Kai-ho," he says again, slowly. It's a Finnish word, he explains, that defies direct translation but describes the twist of emotions he was detangling in the wake of a lifetime on the road and in the limelight. "It isn't a negative feeling. It's a bittersweet reverie. I think Finnish people find it profoundly positive as well, because it also means that you have lived, you have loved and that you experience things that actually make a difference, at least to you personally, hopefully, for the people around you."

Did you struggle?

"I had a month where I didn't get out of bed," he states.

"Around that long, at least. I was pretty worried about it. I forced myself up and back to music through conversations with mates, you know, getting my spirits up a bit, but it was a weird feeling. It's not like you can't get up. You just don't want to get up. You don't want to do anything and you can't really do anything: just super-tired, some form of post-traumatic stress after all the years. It could be that it took a while for it to hit, and it coincided with a pandemic. I wasn't able to do anything, so my body and my mind told me to get the sleep I missed back in the day. Thankfully I slept it off, but life doesn't get any easier. It's getting more complicated, more bittersweet - a tough combo. A pint half full, half empty…”

Of course, the wrought-iron melody of Neon Noir's various paeans to love and loss wouldn't seem correct if they came from a place of emotional buoyancy, but if the slump Ville describes really was just making up for lost sleep-time, he's making no bones about his desire to get back to work.

"I'm not thinking about the end, but what I do realise is that, thinking in logical terms, it's going to be really weird if I'm 60 and still in it, which means that I have less than that in terms of album cycles. It starts to get a bit scary because I've done music all my life, but then again, thinking like that makes me smile."

So how does a 46-year-old's vision of love change from, say, a 20-year-old's?

"Well, maybe we haven't had that 'one true love' in the traditional sense in Shakespearean drama: the overwhelming one that takes over everything. You can't compare relationships and you shouldn't - different times, different people, different chemistry, different reasons. Music is still at its best when it's a soundtrack to important events."

So how does Neon Noir reflect your own life?

"It's very sincere - it encapsulates things. The indecisiveness on whether I belong to the camp of Black Sabbath or Depeche Mode, the constant struggle with good and evil. Run Away From The Sun is the first song I wrote and I didn't know if I had a song in me at all, but I had to start from somewhere. I had all these ideas. I started to do it and follow my intuition. I wasn't in a rush, I had no deadlines - I didn't even know if I was going to continue, and that was the most fruitful ground, because it felt real and unadulterated by pressure…”

As new as it all is for Ville, there are some things that have remained unchanged, or perhaps present is a better word. The heartagram was, after all, the gothic bat-signal of the early 00’s onward...

"It was everything Him stood for," he says. "I just wiggled that one line and realised it has my initials, and that was the reason I called the project VV, and I liked that it had a 'V for Victory' kinda vibe to it, and visually it had the traditional aspect to it, a current iteration of the same idea. It's symbolic, because I didn't want to force myself to take a completely different route musically. I'm not an actor, and Him all happened very organically. I was finding my voice, or whatever you want to call it, through Type O and Black Sabbath back then, and I still am."

From the mood in the room it's a welcome return indeed. It seems that for the first time in a lifetime he's found his path -with the help of a little neon to hold back the darkness.

LIGHTS OUT

Ville Valo reveals the dark secrets behind new album Neon Noir

01: ECHOLOCATE YOUR LOVE

"I was enjoying a documentary on the navigational skills of bats and imagined their nocturnal courting calls bouncing eerily between the walls of the abyss in a gothic ping pong-fashion. To make sure I was communicating this musical vision clearly, I included a cowbell in the middle eight, just because whenever one can, one should."

02: RUN AWAY FROM THE SUN

"The light at the end of the tunnel can sometimes shine so bright it’s scary, and my running-away skills have been highly developed over the years by sweeping most of my issues under the carpet. There are also a few church bell samples ringing among all the 80s-inspired synth sequences, only to make sure the ever-fickle balance between good and evil doesn't err on the side of Skywalker."

03: NEON NOIR

“ A cheerful memento mori if there ever was one, and my first guitar solo on record. The working title was 'Vangelis Halen' and I think I managed to get fairly close in marrying the claustrophobic beauty of Blade Runner with the reckless abandon of VH, in a sort of funeral-car-crash-in-slow-motion-type setting.”

04: LOVELETTING

“ An ode to the setting sun and a tale of dancing on the razor's edge between holding on and letting go. A moribundle of joy in a patchouli garden, with handclaps."

05: THE FOREVERLOST

"The Finnish tourism board should definitely include ‘Nyctophile Shangri-La' as a tagline promoting Finland from now on instead of the worn-out Santanic slogans of yore. A menace-à-trois between Andrew Eldritch, Jaz Coleman and Peter Hook.”

06: BABY LACRIMARIUM

“Quite a traditional love song written by someone who takes the Poe in poetry a wee bit too seriously. A study on blocked tear ducts and The Cure."

07: SALUTE THE SANGUINE

"None of the ways out are easy, so taking the road less travelled is always the preferred method. 'If I could only say the same about the music,’ mutters the little Devil on my shoulder."

08: IN TRENODIA

"A world-building exercise at its bleakest, 'Trenodia' representing a highly modified utopia lit by every shade of blue, with a suitably melancholy soundtrack played at the wrong speed."

09: HEARTFUL OF GHOSTS

"Heartful Of Ghosts is essentially a heart-wrenching tale of paranormal love and supernatural betrayal. Sonically, this lies somewhere between a lava lamp and acupuncture... with fangs.”

10: SATURNINE SATURNÁLIA

"Saturnine Saturnalia is romantic doom and gloom at its very finest, and probably the most Sabbathian moment there is on the album. I dug out my Excalibur - the deranged fuzz pedal and vintage army flask-combo that Mige of Him built me many a moon ago - and tended to my tinnitus with gusto.”

11: ZENER SOLITAIRE

"Imagine if this was Phil Spector's ghost reinterpreting Goblin's soundtrack for Dario Argento's movie Suspiria in glorious lo-fi."

12: VERTIGO EYES

"When you meet someone whose eyes are as hypnotic as watching the Vertigo logo spinning on your turntable, you're either in love or your drink has been spiked. This is a nod to the ghosts of the past, present and future, and a suitably hallucinatory way to end the record."

#ville valo #him #his infernal majesty #neon noir #interview #interviews

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thefairylights · 2 years

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The essential LOUSTAT HIM song list (in my opinion) UPDATED FOR VV SONGS. 01/25/23

After last night and being so inspired by @prouvaireafterdark to deep dive back into HIM’s albums like i am 13 and Ville Valo is my God again, I’ve made myself this list of what I see as Loustat songs that would work for Rockstar Lestat to perform but also work for Loustat as inspiration for anything about them, really.

I have gone through HIM’s first six albums. Razorblade Romance is essentially Loustat in its entirety but I chose the ones that really stood out to me. It was so hard!

Here we go!

GREATEST LOVE SONGS VOL. 666

FOR YOU

In the grace of your love, I writhe, writhe in pain In six hundred and sixty-six ways, I love you and I hope you feel the same

I'm for you

I'm killing myself for your love, and again, all is lost In seven hundred and seventy-seven ways, I love you 'til my death do us part

YOUR SWEET SIX SIX SIX

There are things you should know

The distance between us seems to grow

But you're holding on strong

Oh, how hard it is to let go

Oh, so hard to let go

I'm waiting for your call

And I'm ready to take your sweet six-six-six in my heart

I'm longing for your touch

And I welcome your sweet six-six-six in my heart

OUR DIABOLIKAL RAPTURE

Your love is the only thing I live for in this world

Oh, how I wait for the day your heart burns

In these heavenly flames l've already scorched in liust want you to know I'lI always be waiting

Your love is the only thing I live for in this world

Oh, how I wait for the day your heart burns

In these heavenly flames l've already scorched in

IT’S ALL TEARS (DROWN IN THIS LOVE)

Open your arms, and let me show you what love can be like It is all tears, and it will be 'til the end of your time

Come closer, my love, will you let me tear your heart apart?

Now all hope is gone, so drown in this love

I'm waiting for you to drown in my love

(So open your arms)

I'm waiting for you to open your

arms

(And drown in this love)

WHEN LOVE AND DEATH EMBRACE

I'm in love with you

And it's crushing my heart

All I want is you

To take me into your arms

When love and death embrace

love you

And you're crushing my heart

I need you

Please take me into your arms

When love and death embrace

Now onto RAZORBLADE ROMANCE aka THE essential Loustat album.

I LOVE YOU (PRELUDE TO TRAGEDY)

Can't you see, my darling,

That the harder I try

The more we grow apart

Please believe me

The sweeter the kiss

The colder turn your arms

And the colder grows your heart

And, baby, more I love you

I see it in your eyes

I feel it in your touch

I taste it from your lips

And, baby, more I love you

JOIN ME IN DEATH (this is like #1 theirs)

This world is a cruel place

And we're here only to lose

So before life tears us apart let

Death bless me with you

Won't you die tonight for love?

Baby join me in death

Won't you die?

Baby join me in death

Won't you die tonight for love?

Baby join me in death

RAZORBLADE KISS

I taste death in every kiss we share

Every sundown seems to be the last we have

Your breath on my skin has the scent of our end

I'm drunk on your tears, baby, can't you see it's hurting

Every time we touch, we get closer to heaven

And at every sunrise our sins are forgiven

You on my skin, this must be the end

The only way you can love me is to hurt me again

And again

BURY ME DEEP INSIDE YOUR HEART

Let me wake up in your arms

Hear you say it's not alright

Let me be so dead and gone

So far away from life

Close my eyes

Hold me tight

And bury me deep inside your heart

All I ever wanted was you, my love

You're all I ever wanted, is you, my love

You're all I ever wanted, just you

HEAVEN TONIGHT

I hold your hand in mine

I hold your hand and you're so lonely

Oh so lonely

Your eyes have lost their light

Your eyes have lost their light and you're empty

Oh my God you're so empty (I'm in love with you)

You are my heaven tonight

(I'm in love with you)

DEATH IS IN LOVE WITH US

I know it hurts too much

I know that you're scared know you're running out of trust

And wishing you were dead

But in your misery

You're not alone

So come share your tears with me

And witness it all go wrong

Iknow it and I feel it

Just as well as you do, honey

It's not our fault if death's in love with us oh oh

Onto DEEP SHADOWS AND BRILLIANT HIGHLIGHTS

HEARTACHE EVERY MOMENT

From lashes to ashes and from lust to dust

In your sweetest torment I'm ost

And no heaven can help us

Ready, willing and able To lose it all

For a kiss so fatal and so warm

It's heartache every moment

From the start 'til the end

It's heartache every moment with you

Deeper into our heavenly suffering

Our fragile souls are falling

It's heartache every moment, baby with you

LOSE YOU TONIGHT

Don't run away

'Cuz I can't live without you

Please stay

And I'II learn to love you right

'Cuz I was waiting for you

Waiting for all my life

I've been crying for you

Dying for you all this time

'Cuz I was waiting for you

Waiting for all my life

And I'm not gonna lose you

tonight

YOU ARE THE ONE

No, I won't surrender at any cost.

You're something so sweet and tender from my heart.

Yes, I have done my evil,

I've done my good.

Just believe me honey, I won't let go of you.

You are the one

And there is no regret at all.

You are the one

And there is no regret at all.

PLEASE DONT LET IT GO

We're drifting apart,

But I want you to know

Wherever you are I belong

Love's singing our song

But we fail to sing along

Wherever you go I will follow

So please don't let it

Please don't let it go

Cause if you won't let it

I won’t let it go

So please don't let it

Please don't let it go

Cause if you won't let it

I won't let it go

You try to be strong

But you're always so alone

Whatever I do I do you wrong

Death sings our song

And we eagerly sing along

Whatever you do I adore

So please don't let it

Please don't let it go

Cause if you won't let it

I won’t let it go

LOVE YOU LIKE I DO

On my heart I'lI bear the shame

No prayer can ease the pain

No one will love you

No one will love you the way I do

No one will love you

Love you like I do

And there's no escape

Just countless mistakes

No one will love you

No one will love you the way I do

The next album, LOVE METAL

THE SACRAMENT

I hear you weep so far from me

I taste your tears like you're next to me

And I know

My weak prayers are not enough to heal

The ancient wounds so deep and so dear

The revelation is our hatred and fear

You know our sacred dream won't fail

The sanctuary tender and so frail

The sacrament of love

The sacrament of warmth is true

The sacrament is you

ENDLESS DARK

Softly the light shines in through

Gates of grace on me and you Deceiving our restless hearts

A flickering Flame so Serene

Devours the Night so we could

see

The Fear we hold on to so strong

But I know where I belong

Away from your Gods

That heal all wounds and light

This endless dark

THE PATH

With every step I take

The less I know myself And every vow I break

On my way towards your heart

Countless times I've prayed for forgiveness

But gods just laugh at my face

And this path remains

Leading me into solitude's arms

I see through the darkness

My way back home

The journey seems endless

But I'll carry on

The shadows will rise and

They will fall

And our night drowns in dawn

The fifth album, DARK LIGHT.

VAMPIRE HEART

You can't escape the wrath of my heart

Beating to your funeral song

All faith is lust for hell regained And love dust in the hands of shame

Let me bleed you this song of my heart deformed

Lead you along this path in the dark

Where I belong until I feel your warmth

Hold me like you held on to life

When all fears came alive and

Love me like you loved the sun

Scorching the blood in my vampire heart

WINGS OF A BUTTERFLY

Heaven ablaze in our eyes

We're standing still in time

The blood on our hands is the wine

We offer as sacrifice

Come on and show them your ove

Rip out the wings of a butterfly

For your soul, my love

Rip out the wings of a butterfly

For your soul

KILLING LONELINESS

Nailed to a cross together as solitude begs us to stay

We disappear in the lie forever

And denounce the power of death over our souls

And secret words are said to start a war

With the venomous kiss you gave me

I'm killing loneliness (Killing loneliness)

With the warmth of your arms, you saved me

Oh, I'm killing loneliness with you

THE FACE OF GOD

Nothing will be enough

For the ones who keep on stumbling

In the garden of withering trust

Without the courage to leave

I'd take my life for your kiss (grant me this)

And lose it all to take you across the abyss

I dream what you're dreaming And feel what you're feeling

Love's the shadow on our wall

With the face of God

IN THE NIGHTSIDE OF EDEN

Divided, we stand in the light of a frozen sun

Cursing the gods we have become

We steal the fire from a sacred heart

And bleed the wine unholy

We fall in love with the serpent's song

And fear nothing

In the nightside of Eden

And finally, album six, VENUS DOOM.

SLEEPWALKING PAST HOPE

All is lost in this war

All we can do is to wail and weep to the saddest song

Sleepwalking past hope unlit the light to embrace the dark

To be near but not to turn into you my darling

Forever we're lost in our souls' storm

Reflections of each other's faults

In our hearts love keeps sweet-talking to despair

And goes on sleepwalking past hope

DEAD LOVERS’ LANE

Despair has a face

And all these wounds remain unhealed

Blessed to kill and enslaved

Are all hearts around love's will

Thrilled to start all over again

Crawl down Dead Lovers' Lane

The maze of memories stained

And suck the blood right out of my heart

Fear has a name

Written on unhallowed ground with dead leaves

Those words never fail

To feed the hunger that dreams

Our needs beyond God's grasp

Crawl down Dead Lovers' Lane

The maze of memories stained

And suck the blood right out of my heart

Scream out love's name in vain

Embrace the pain again

And lose yourself alone in the dark

BLEED WELL

In the heart of our hearts, by death, we were wed

Bleed well, the soul you're about to sell

For passion deranged

Kiss and tell

Baby, we're bleeding well

Bleed well, the heart you're about to fail

For reasons insane

Kill and tell

Baby, we're bleeding well

In hell

CYANIDE SUN

Should've known how hard it is to stop tearing each other apart

Separating souls entwined in all these labyrinthine lies lam dead to you, a shadow doomed

My love, forever in the dark And of all untruths the truest is

you

Too close to my heart

This emptiness I've made my home

Embracing memories of dreams long gone

One last caress from the corpse of love is all I want

Underneath the cyanide sun

Ville Valo’s solo album, NEON NOIR.

RUN AWAY FROM THE SUN

Let me hold you

And dream of a life

We belong to another world

I will tell you all the sweetest of lies

(Sweetest of lies)

Run away from the Sun, to me

Run away from the Sun, into my arms

Flames pour out from your eyes

Words fail and it all turns to dust

Come shelter me with the prettiest cry

(Prettiest cry)

Run away from the Sun, to me

Run away from the Sun, into my arms

Disappear with me love

(Disappear with me love)

Dive into the dark

Run away from the Sun, to me

NEON NOIR

Come love me till it hurts

Dance the neon noir with me

Come love me

My sunfall doomfire burn

A flashdance macabre to love's soliloquy

Come love me till it hurts

Here lies a heart that feels

Touched by fire, howling at the moon for you

Caught in dusk, heartstrings out of tune

From the abyss I pirouette my way back to you

Come love me numb

BABY LACRIMARIUM

Be mine forever and ever

My heart sings the rain again for thee

Let me score you this eerie courting call

Of yet another romeo dead but dreamy

VERTIGO EYES

Into the gloom on another halcyon day of doom

I'll love you, blue

From the darkest of darkrooms, a lament so out of tune it rings true

Heart, come out of hiding

I am lost and found in you

Come out

Vertigo eyes

Vertigo eyes, blue

Hinterland's sore thumbs for the moon

Ad profundiscoteque I love you's

Heart, come out of hiding for me

Come out

#Interview with the Vampire #interview with the vampire amc #loustat #HIM #lestat de lioncourt #sam reid #rockstar lestat #the vampire Lestat #Ville Valo #iwtv #the vampire chronicles #queen of the damned #lestat x louis #louis x lestat #louis de pointe du lac

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