Hiding the sun [Finland]

Turnip rape fields where The Rasmus lives, are used to butterflies and marguerites. Hide from the sun, wich will be published soon, band has hidden from the sun to the caves of earth sprites.
Can you still remember the lively funk, hyperactive duracell-rocking and innocent uninhibited joy of life of the upper secondary schoolband? Can you still remember those spontan interviews given to Jyrki-show, foolish music videos like Funky Jam and cute and glaring style?
There was hot summer, rare to our climate in Rasmus-land, cleverely bouncing compositions, texts defending slavic melancoly and sunny citypicture introducing coverart of Playboys were a part of the positive weekday.
The sun was the motive of the band, the red line following every song, whose presence felt sometimes a concretic concept, sometimes more abstractic glow. Remember the life-tasting rymes of Kola: “things’re gonna be fine when the sky is my cover/a big yellow ball, the sun is my lover/I take my skateboard and my good feeling with me/I’m heading to a place where I can get the sun on my face”.
Even if their third album Hellofatester acted a kind of prologe to the thunder, there were some carefree songs like swimming with the kids: “A sunny day ‘n I’m feeling kinga guilty/if I’m not going out, I’m not going anywhere”.
Climat started to be close to Kaurismäki-ish drops in the single Chill, wich unpacked in Dead Letters, braking trought album, by a dawing pouring rain.
When the band’s sixth album – Hide from the sun, appears 6th September recycling the sunmotive – it will too continue on the path to Tuonela, marked by gothic estetic and heavy riffs, there awakes a question about reasons, wich leaded to the fierce changing. How much is there change leaning purely to musical intress, how much experience of life grasped from life in tours?
“There is both of them, plus gasp of 10 years”, begings Pauli Rantasalmi, the fuzzyhaired guitarist and musical manyplayer of The Rasmus.
“When we started to make music, we were 15-16 years old teenagers, who played everything from raggae to hiphop. Someday we realized, that rock fits us better, and we have gone all the time the way we can play – we never really never could play that raggae.”
Watching half-carelessly joking Pauli and calm basist- Eero you wouldn’t immediatly believe that you’re chatting with great musicians who have made a darkshaded gothrock- album.
So, is it the absolute value of interesting and timeless music some kind of pharadoxality, ability to make a difference between yourself and the music?
“Not necessaryly. At least Lauri always says that he writes honestly only about his true feelings. And I believe that you can tell beautifully about things you’ve seen, done or at least imagined”, Eero says.
“But the paradox borns when the role is very strong, like Marilyn Manson. If you have to be that same guy at home, too, it will maybe start to go very fast.”

Sulking and melodies
Sometimes even metallic Hide from the sun started to be formed already Dead letter’s aftermood. After the Japan- tour the band grinded 20 new song, recorded fifteen and finally ended up to ileven. Album born of creatingwork’s portfolio is a catching mix of strong melodies, twitchy bouncing songrythms, heavyriffs soften by bowmatching and ghostly howling syntics. Even if sounds are heavy, there is necessary airyness in verses.
“Even if we have toured incessantly, we didn’t close ourselves to caves to write, we made music all the time at tours, too. At the treening-place the songs got their forms and we listened to Nirvana’s Nevermind at the studio”, Pauli makes clear.
“We have always tried to bring some more modern rock’s bands”, Eero continues, “This time it was Foo Fighters.”
Excluding some “ballads” (Sail away connecting Liquid’s bowmood and Chill’s melancholylimpid verse and Don’t let go which tunes lighterseas and is surely gig’s last song), Hide from the sun confuses sometimes even monotonic reaching unity. But Eero deny that there is commerciality behind the album. Rather it was about bringing out own voice, where producters (Mikael Nord Andersson and Martin Hansen) had crucial word to say.
“We have made our two albums with tose swedish guys, and they have defined the sound and incited us to make better songs”, Eero describe.
“When we chanced to this swedish record company, it was purely their proposition to try something like this”, Pauli continues.
“Those producters hadn’t made rock before, so we tought “this won’t work”. But we recorded some songs, and we realized, that this works. It became a nice mess.”
Like albums usually, The Rasmus’ new one also makes bridges to music’s endless galaxy’s other, wondering hitchhiker’s outputs. Dead promises’ melody loans Eurythmics’ Sweet Dreams 80′s hit, Keep your hear broken’s misty commencement tunes assosiate with CMX’s Talvitie and Heart of misery’s sturdy vigorous drumrythms has combinations with Bon Jovi’s Runaway.
“Cool! Bonkka is fucking awesome!” Pauli says eagery.
“I think it is fine, because I like all of them. Or maybe I don’t like Bonkka so much, but…” Eero starts and gets Pauli against him.
“No, Bonkka is great. I like.”

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