Apocalyptica

发行于2003年的最新同名专辑《Apocalyptica》，惊喜再现。这次是什么呢？人声，即vocal。

之前Apocalyptica一直用纯音乐来表达他们的理念，这张专辑里出人意料的启用了vocal在一上来的“Life Burns！”，着实是让人大吃一惊，真可谓碟不惊人誓不休啊。之后从第二首歌又回归了他们一贯传统的纯音乐，刚柔并济，强弱结合的恰到好处。然后在第4首“Bittersweet”又玩了个双主音，一高亢一低沉交相呼应。另外值得一提的是他们的歌词也十分有趣，“Life Burns！”仿佛一首诗，而“Bittersweet”则像歌剧片断的对白。推荐“Ruska”，和缓悠扬的旋律，透着些许悲伤和凄婉，非常动听。

Apocalyptica的音乐受到从俄罗斯作曲家萧斯塔科维奇到重金属以及歌剧等音乐形式的影响，他们并不是简单地将它们混合在一起，制作如此不朽的声音需要超常的能力和灵活性。

A listen to Apocalyptica's Apocalyptica brings with it the nagging urge to figure out where, exactly, the music fits. Certain moments — entire tracks, even — are given over to classical formality, and it is in those moments, steeped as they are in traditional loveliness, that a listener can come dangerously close to thinking he is hearing something lofty and important. He is not. Apocalyptica, the genre-splicing Finnish instrumental band that changed headbangers' perception of the cello, is not pretentious exactly, but its effect is the same as that of a rock band whose lead singer is audibly British: it sounds smart. Too smart, for instance, to issue from the headphones of a kid just discovering Black Sabbath or lining up for Slipknot tickets. Where Apocalyptica might fit, then, is not with heavy rock scenesters but with aging metal heads. It is not hard to envision tracks like "Fatal Error" and "Fisheye" booming from the speakers of a splashy convertible with a bald guy at the wheel. Elaborate fantasy-concocting gamers — Dungeons & Dragons players and their descendants — also stand a better chance than most of finding relatable rock bliss here.