“In The Shadows” from their 2003 album “Dead Letters” made me a fan. And I followed em with each subsequent release after that.
Around 2013, I decided it was time to go back and listen to their earlier albums, before “Dead Letters”.
“Into” is their fourth studio album, released in 2001. When they broke through to the international markets and mainstream attention it was with “Dead Letters”, which was their fifth album. Imagine that. Five albums deep into your career and you are finally breaking through the borders of your homeland, which in this case is Finland.
With this album, The Rasmus continued to move away from their earlier sound and into a more hard popular rock sound with the mood of the album being more contemplative and melancholic. Also the songs are concise, trimmed to ensure that the majority are lean and under 4 minutes.
The Rasmus band is Lauri Ylönen on vocals, Pauli Rantasalmi on Guitar, Eero Heinonen on Bass and Aki Hakala on drums. Names that are hard to remember in the English language but that shouldn’t detract from the great musicians and songwriters they are.
A pop punk distorted riff kicks off the song.
I like the Pre-Chorus with its acoustic guitars and electric guitars dynamic and its auto-tuned vocal melody, which also acts as a fuzzed out guitar lead the second time the Pre-Chorus comes around.
At 2.27, a violin solo kicks in, which mimics the vocal melody and it keeps going until the song finishes with the vocal melody over it.
A heavily processed guitar riff starts it oft and it’s sitting in the background when the normal music kicks in.
The verses remind me of Whitesnake, Muse, Scorpions and there is a pop song there as influence that I can’t think of.
The Chorus is typical of the Chorus’s that would appear on the subsequent albums.
I gotta leave to make you see I’m over you
‘Cos if I stay I’m number two anyway
What do you do when you still like the person but they don’t like you the same way anymore?
The clean guitar melody in the intro is catchy and it was that good, it would appear on other songs on later releases.
I gotta make a phone call to my best friends.
I gotta let them know that I’m leaving.
Everything behind me and politely I don’t wanna hurt their feelings, oh no.
The first three lines. It’s sung fast but so melodically.
You want to leave but you’re not sure. You are going out on your own with no safety net. And you don’t want to burn any bridges because if you do return, you would want to have those friendships kick-starting again.
Reading Tommy Bolin’s story, he hitchhiked, by himself at the age of 15, from his hometown to a bigger city to play with better musicians.
And every time when I painted my room
like a fool I hid my feelings.
And every time when I painted my room
I thought about leaving.
The Chorus hook. For all the talk these days about mental health, the issues of mental health are nothing new. They seeped into lyrics of songs since music was invented.
It was number 1 in Finland for three weeks.
At 3.52, it’s my favourite song. It’s what “Dead Letters” was built on. The staccato like intro riff is arena rock.
The verses then roll along with its strummed acoustic guitar being the main riff and a tasty distorted guitar playing some single note licks in between. It reminds me of songs from Collective Soul, The Wallflowers and Eagle-Eye Cherry (think “Save Tonight”).
F-F-F-Falling down with the sun
I can’t give it up
The night is calling me like a drum
I keep on F-F-F-Falling
The Chorus hook. Its anthemic.
At 2.01, the Bridge kicks in, and the way the vocals are layered is excellent.
At 2.35, it all quietens down, as it builds back up into the Chorus and the excellent Bridge. There is also a nice guitar lead buried in the mix which mimics the vocal melody.
Another masterpiece in pop rock song writing.
The intro I believe is played on a synth, and it sounds like an 80’s retro riff. Then the acoustic guitar kicks in with its strummed chords and the vocal melody.
Oh yeah, oh yeah. She wanted to be a heartbreaker
Oh yeah. She was so greedy but a lousy love maker
The Chorus is anthemic. The music is in a pop punk fashion, but the vocal melodies are hard rock.
She used to be the queen of the scene
She had a key but she lost it
Nothing’s gonna last and the time goes fast – she knows
Descriptive story telling. Maybe Warhol was right. We all will get some form of 15 minutes of fame. All the Kings and Queens of the past, don’t seem to hold their title for long.
The way it started off, with processed drums and phased/tremolo’d guitars, didn’t prepare me for the arpeggios to come in the verses and the melodic rock hooks vocally.
Understand that you’re holding a bomb in your hand
Take control, hand in hand with yourself from now on
Take this advice, aim to the skies
Is the bomb the person’s dreams and wishes?
It’s a great power ballad, about drinking blood off dinosaurs and other strange things. There has to be some peculiar metaphorical meaning behind it.
Check out the Chorus. It’s huge.
The intro reminds me of Bon Jovi but then it goes into a “Teenage Dirt Bag” kind of verse with the Chorus going back to a Jovi feel.
“One & Only”
The intro reminds me of “Save Tonight” from Eagle-Eye Cherry.
Overall, the track is in the vein of the tracks to come on subsequent albums.
A music box intro starts off this bolero waltz groove.
P.S. The album went 2x Platinum in Finland.
P.S.S. All ten tracks are listenable. There is no filler.
P.S.S.S. “Into” is their great leap album, bridging their past with something new to come and international success.