Verenpisara
Happosadetta

"Happosadetta" (Acid Rain) was released in 2003 following the brilliant debut "Aamunodottaja," and it reaches us like a delicate caress of autumn breeze with great finesse and class. The Finns, enriched by three members of Amorphis, offer us an elegant fusion of the typical fragilities of Nordic prog-rock, the strength of solid metal riffs, and a vaguely folk-melancholic Scandinavian backdrop to create a cohesive and emotional work.

The guitar work, however, does not play the leading role as one might expect but instead serves as an effective backdrop for the deep voice of Rami Raski and the dreamy keys of Santeri Kallio, where the rhythms pleasantly wrap around and mark November nostalgias.

In the opening track "Arvetkin Kauneuspilkuiksi", one can appreciate the peculiarities of the Helsinki combo, based on piano openings softly laid upon solid yet never intrusive guitar tunes, while a narrative-style singing explodes into an easily assimilable chorus. "Yon Karnevaalit" (Night Carnivals) reveals itself to be poignant in its elaborate riffs and in a chilling, heartfelt vocal performance. The Finnish Iskelma (popular music) boldly makes its appearance in the ballroom-style melodic lines of "Me Tapoimme Tunteen", combined with the metallic stride reminiscent of fellow Finns Viikate, truly captivating atmospheres that take us far back in time amid romanticism and past memories.

Two semi-ballads with a pop aftertaste are "Kylla Me" (Yes, Us) and "Galleria", very refined, embellished with elegant acoustic patchworks and melodious vocals, all characterized by melancholic lyrics like velvety snowflakes. In the finale, the band lets slip hard-metal ambitions in the old-school Nordic doom of "Tunne Hiekka Jalkojen Alla" (Feel the Sand Underfoot), nonetheless rich in atmospheric keyboards and acoustic breaks, and in the fast-paced "Pakoon" enhanced by driving verses and an irresistible chorus. The beautiful concluding solo clearly demonstrates the skill of the band. The rough parts disappear in the two closing tracks, indeed "Rakkauden Esikoinen" resides on slow and desolate drumbeats, graceful female voices, and Raski's interpretation that takes us across tongues of water suspended between silent beaches, surrounded by forests during the period of "Ruska" (the colors of Finnish autumn).

"Happosadetta" draws the curtains like a bittersweet poem, a painting of a landscape among muddy reeds and the scent of moss from timeless woods. Gentle acoustic guitars, elegant pianos, and a barely hinted solo follow the singer's soliloquy, and two tears of love fall from the eyes. Wonder and class.

For all those who appreciate the more intimate side of making music, enjoy the listening experience.