Better Noise Music
12/09/25
With The Rasmus’ new album Weirdo coming out this Friday (September 12), it brings to a close a new chapter and somewhat of a first for HEAVY. From the moment lead single Rest In Pieces was released last October, HEAVY has been part of a global promotional campaign in support of the album, and as such we have grown to know and love the band in a way not normally afforded to albums we intend to review.
But don’t let that fool you. If it sucks, I will still say as much; it just might hurt a little at the same time. The process has actually given us deeper insight into the songs on the album, having recently interviewed vocalist and songwriter Lauri Ylönen, so whether that turns out to be of benefit or a hindrance when presenting our thoughts is a subject we best get started on before I waste any more of your time.
Creatures Of Chaos is first up and fires up with a stuttering and fat bass run that degenerates into a wicked breakdown with a splash of electronics. I have to say, at this early stage, The Rasmus have already thrown a spanner in my works because I thought they were more on the pop rock side of things than this.
How I love to be proved wrong when it comes to music.
The pop sensibilities are still there, along with a catchy as fuck hook and infectious chorus that screams contempt, but on this track, it is the thunderous drumming from Aki Hakala that stands out most, with subtle layers of almost industrial strength pieces making this a damn fine opening salvo!
Break These Chains has an almost cinematic intro passage with what sounds like nervous keys creating a haunting underlying sense of dread. Which is the perfect segue into the basic premise of Weirdo, which sees The Rasmus once more latching onto the underdog status, albeit with a global audience from which to launch their message.
And that message is fuck the haters. Fuck anyone who labels you a weirdo or any other stabs at ridicule they might come up with. Because this album is by the Weirdos, for the Weirdos and if you can’t handle that, then best you jump off now.
This track is much less menacing than Creatures Of Chaos and is also more radio-friendly with a floating chorus filled with pain and suffering. There’s actually quite a bit going on musically with The Rasmus, and if you had them pigeon-holed as just a radio-friendly rock band, then I have a feeling Weirdo is going to force you to reconsider.
The aforementioned Rest In Pieces is next and begins with an almost pretty vocal piece that ushers in a somewhat tempered slab of music that eases along at a steady pace without bogging itself down in sentiment. Again, it’s the tough as fuck drumming from Hakala that elevates this track above familiarity. He drives from the rear with a timing and precision that forces the rest of the band into maintaining a certain intensity despite the narrative, with a punishing tempo that hits hard.
The Rasmus have a fantastic grasp of the smaller nuances of music that only the great bands have. Little things like layered choruses and secular gang vocals that soothe rather than damage allow for other parts of the songs to shine through, which sounds easy but is far from it.
Dead Ringer arrives in a flurry of swirling electronics and has an almost doof doof undercurrent to start. I say almost because it’s there in the background, but this particular song is all about Ylönen and his vocal ability. At times urgent and forceful, others withdrawn and emotional, the heartbeat of Dead Ringer pulsates entirely from the veins of the vocalist, who handles the responsibility with ease.
The title track shimmers to the surface next, with minimal instruments and massive focus on Ylönen‘s voice creating a strangely comforting sensation that is accentuated when joined by Lee Jennings from The Funeral Portrait, who stops in to lay down some vocals.
Apparently, the two bands hit it off immediately when paired up for a recent tour, so in the modern age of collaborations, this one was a no-brainer. But unlike most collabs that seem forced or contrived, or more for promotional reasons than enhancing the actual song, this vocal union on Weirdo works, and works well. Jennings and Ylönen harmonise beautifully with each other and give added depth and meaning to what is obviously the song that inspired the album as a whole.
Banksy fires up courtesy of a tasty guitar riff from Emilia “Emppu” Suhonen, and by the time the drums join in you can already tell this is going to be an epic rock track. Ylönen adds his touch to proceedings, but if Dead Ringer was all about Ylönen’s vocals, then Banksy is Suhonen‘s counterpart.
She finally gets the chance to lay down some chops and directs traffic from peak to rush hour with a few deft strums on her guitar. The whole band are in fine form here, with an almost 80s upbeat disco vibe adding to the straight-up rock underbelly in what is my pick of the album thus far.
Whistling fills the air atop the thumping of the kick drum as Love Is A Bitch rolls out of the speakers in an upbeat and enticing fashion. Whistling in songs generally irritates the fuck out of me, but acts more as a barrier between worlds in this track, keeping two opposing forces apart in what could be construed as a time of conflict.
I’m not sure if this is a break-up song or not, but either way, it leaves you with a nice taste in your mouth rather than the usual bitterness that follows any moment of life where the words ‘love‘ and ‘bitch‘ are used in the same sentence.
You Want It All could have been the catalyst to the previous song, but judging from its emotive and delicate beginnings, it could also have been the calm before the storm. It’s almost a little too dreary for me before The Rasmus decide to spice things up a little into more vibrant territory.
Even then, it is still a little too far on the softer side of things for me, so before I open any doors that might be difficult to close, I shall adjourn to the next song and allow The Rasmus their moment of introversion.
Bad Things sounds like it should be more to my liking, and from the very first strains of guitar I have a feeling I am on the money. When the drums smash through as well that feeling turns into certainty, and The Rasmus have already redeemed themselves in my ears.
Fickle fucker ain’t I?
The guitar here is a major highlight, and I realise for the first time I haven’t heard any prolonged or pointless guitar solos so far on Weirdo. Oops, spoke too soon for a change, but the fact that this solo is more of a rarity than the norm ensures it has substantially more punch and effect. Despite having a chorus I know I will be singing in my head until I go to sleep tonight, it’s the underlying toughness and menace created by The Rasmus on Bad Things that stands out for me, which, I guess, is another feather in the band’s cap.
I’m Coming For You sounds like The Rasmus are going to smash us between the eyes one last time before leaving us, but instead, the gentle strains of piano introduce the final track. This is a withdrawn and deliberate act of ambience from the band that reminds me of the days when boy bands ruled the roost and crooned after each other like love-sick puppies.
Not that I am putting The Rasmus in the same boat, but if you close your eyes…
It is actually a calming way to finish Weirdo and brings me back to one main point.
Ylönen CAN sing. Like a motherfucker. But his voice isn’t the only force of nature in The Rasmus. Sure, they could defer to that obvious draw card much more often than they do, but for mine, that would also cheapen the band’s appeal. Weirdo has been and remains a team effort from a band who, after 11 albums, have found their niche but still feel the need to push themselves further outwards in an attempt for self-improvement.
Which is much like the whole message of Weirdo.
