Back in 2003 the world of rock music underwent a little renaissance and for the first time in a long time, Goth was cool again…yes black was back and several artists made huge impacts on the world stage. Without a shadow of a doubt, EVANESCENCE stole the show with their chart topping, haunting super-hit “Bring Me To Life”, alternative rock having rarely seen such commercial success…veterans TYPE-O-NEGATIVE dropped the outstanding “Life Is Killing Me” in all of its dark humoured glory…Finnish icons HIM made their UK / US breakthrough with “Love Metal” (Helped ever so slightly by the relentless plugging of Bam Margera) and rock music as a whole found a new heart-throb in Ville Valo…and a little band called THE RASMUS released one of the year’s biggest hits, “In The Shadows”….many thought that the Finns had come out of nowhere, capitalising on this wave of alt. rock popularity but in actual fact they started life back in 1994 while still in high school, and while charting higher than their Scandinavian peers here, the longevity wouldn’t last and as quickly as they became new Goth’s on the block, they ironically slid back into the shadows, eventually going into lengthy hiatus in 2012. Fast-forward five years however, and 2017 see’s The Rasmus return with their ninth studio album; “Dark Matters” but…the question is, do The Rasmus? Let’s find out…
The album opens up with lead single “Paradise” and it finds itself somewhere between ambient acoustics and generic indie-rock…front-man Lauri’s vocals are still honey coated as ever and he sings with an air of innocence as he juxtaposes the idea of one man’s hell being another man’s paradise…it’s a pleasant little song for what it’s worth but for a come-back single after a five year absence it’s a little underwhelming and it doesn’t incite much excitement to start the album…”Something In The Dark” follows up immediately afterwards and here we have this incredibly light, bubbly pop track…musically it sounds like it’s taken influence from modern dance-pop records, lacking only in pace, and the chorus here suffers from being a little flat really, it works as a nice, simple pop song but little else. With “Wonderman” then we’re finally met with some chugging riffs and you’re lead to believe that the album is going to come to life here but, the idea is shot down as the track descends into a soft ballad and it’s massively disappointing…and here we find the album’s primary flaw.
While we know Lauri’s vocals aren’t exactly the strongest, they’ve never been an aggressive rock band…but…we do know they can churn out an absolte banger and he’s capable of delivering, I’ve already mentioned “In The Shadows”, but they also have “Guilty” in their repertoire and hell, just listen to “Life Burns!” with APOCALYPTICA…they can do it, but this album is bereft of life, or even a point at times… despite having certain easy listening qualities, such as the funk driven “Crystalline” and the frankly Eurovision-esque “Delirium” providing an album highlight in all of its catchy pop splendour, the rest of the album is annoyingly lacklustre. “Empire” for whatever reasons deemed acceptable in production utilises a god-awful kazoo-like effect that you’d possibly find in a clichéd R’n’B track…it’s actually horrendous…while “Black Days” and “Dragons Into Dreams” are for whatever reason content with boring the listener into a coma more effectively than an opioid overdose…this album simply fails to inspire on many levels and it’s just an absolute shame…even from a pop music perspective this is relatively half-arsed and lifeless and to make the point clearer, there’s more substance to the last LINKIN PARK record, and look how that was received. Dark matters? Well, this album sadly doesn’t. [3]
The album opens up with lead single “Paradise” and it finds itself somewhere between ambient acoustics and generic indie-rock…front-man Lauri’s vocals are still honey coated as ever and he sings with an air of innocence as he juxtaposes the idea of one man’s hell being another man’s paradise…it’s a pleasant little song for what it’s worth but for a come-back single after a five year absence it’s a little underwhelming and it doesn’t incite much excitement to start the album…”Something In The Dark” follows up immediately afterwards and here we have this incredibly light, bubbly pop track…musically it sounds like it’s taken influence from modern dance-pop records, lacking only in pace, and the chorus here suffers from being a little flat really, it works as a nice, simple pop song but little else. With “Wonderman” then we’re finally met with some chugging riffs and you’re lead to believe that the album is going to come to life here but, the idea is shot down as the track descends into a soft ballad and it’s massively disappointing…and here we find the album’s primary flaw.
While we know Lauri’s vocals aren’t exactly the strongest, they’ve never been an aggressive rock band…but…we do know they can churn out an absolte banger and he’s capable of delivering, I’ve already mentioned “In The Shadows”, but they also have “Guilty” in their repertoire and hell, just listen to “Life Burns!” with APOCALYPTICA…they can do it, but this album is bereft of life, or even a point at times… despite having certain easy listening qualities, such as the funk driven “Crystalline” and the frankly Eurovision-esque “Delirium” providing an album highlight in all of its catchy pop splendour, the rest of the album is annoyingly lacklustre. “Empire” for whatever reasons deemed acceptable in production utilises a god-awful kazoo-like effect that you’d possibly find in a clichéd R’n’B track…it’s actually horrendous…while “Black Days” and “Dragons Into Dreams” are for whatever reason content with boring the listener into a coma more effectively than an opioid overdose…this album simply fails to inspire on many levels and it’s just an absolute shame…even from a pop music perspective this is relatively half-arsed and lifeless and to make the point clearer, there’s more substance to the last LINKIN PARK record, and look how that was received. Dark matters? Well, this album sadly doesn’t. [3]
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