Simply brilliant, 03 Feb 2006
A hybrid of seemingly impossible genres, but they pull it off, and more! This has to be one of the best albums I have ever heard. If you have a dark classical side, or even if you just like metal and have an open mind then this worth buying, just listen to "nothing else matters"...

This band and their work need to be celibrated. Six stars...

Stunning simplicity and complexity, 28 Sep 2005
Apocalyptica have produced a tour de force of emotion and mood with this collection. At times I found that I had to close my eyes and sit back to take in the breadth and depth of what is being served up.

If you want to experience classical instruments played with passion then this cd will give you all that and more.

SO much more than a novelty, 15 May 2004
Firstly I'd like to say, having seen some of the reviews for Apocalyptica's first album, I was appalled. Hearing the unbelievable wealth of sound that these guys get out of their cellos, how could anyone say these sibelius academy graduates are anything but brilliant?

For me, they are best when doing slow and mellow songs, on this album notably 'Nothing Else Matters', 'Fade to Black' and 'One'. Breathtaking.

Of the more traditional thrash covers, 'Domination' deserves a mention, not least because they actually play the solo!!

'From Out of Nowhere' comes across as being a surprisingly deep and wonderful piece of music - a very pleasant surprise.

Of the pieces they have written 'Harmageddon' is my favourite, with some fantastic sounds (using harmonics) in the introduction, then breaks into something powerful (yet at times almost melancholy) that takes full use of the beatifully layered harmonies they can create.

Overall, there is some great music on this album. It is played by four brilliant cellists who can milk the pieces for all they're worth! I'd say a must-have for any thrash or classic metal fan, and a worthwhile purchase for anyone who is intrigued by the prospect of cellists playing heavy metal music.

Beauty from the Beasts, 12 Dec 2000
Introduced to me by my beautiful dutch girlfriend, Apocalyptica have created something even more poignant and simultaneously hard-hitting with their cellos than most bands can do with a 20k rig and everything modern musical technology has to offer. Their masterful hands manage to harness all the power of the songs they cover, adding enough melancholy to 'nothing else matters' to bring a tear, along with a fantastic delicacy and beauty to the pieces they do the honour of covering. Their own pieces are equally impressive.I need six stars to do this album justice. Do yourself a favour-buy it.

Brilliant!, 19 Feb 2000
Four men with cellos prove that classical and "metal" music can exist together. Probably louder and more agressive sounding than the original Metallica & Sepultura songs they cover on this album Apocalyptica are fabulous. But they also include some of their own compositions, so don't dismiss them as just a "cover" band. This album is the most original and fresh sound we've heard in years. If we could give it more "stars" we would.

Simply brilliant, 03 Feb 2006
A hybrid of seemingly impossible genres, but they pull it off, and more! This has to be one of the best albums I have ever heard. If you have a dark classical side, or even if you just like metal and have an open mind then this worth buying, just listen to "nothing else matters"...

This band and their work need to be celibrated. Six stars...

Stunning simplicity and complexity, 28 Sep 2005
Apocalyptica have produced a tour de force of emotion and mood with this collection. At times I found that I had to close my eyes and sit back to take in the breadth and depth of what is being served up.

If you want to experience classical instruments played with passion then this cd will give you all that and more.

SO much more than a novelty, 15 May 2004
Firstly I'd like to say, having seen some of the reviews for Apocalyptica's first album, I was appalled. Hearing the unbelievable wealth of sound that these guys get out of their cellos, how could anyone say these sibelius academy graduates are anything but brilliant?

For me, they are best when doing slow and mellow songs, on this album notably 'Nothing Else Matters', 'Fade to Black' and 'One'. Breathtaking.

Of the more traditional thrash covers, 'Domination' deserves a mention, not least because they actually play the solo!!

'From Out of Nowhere' comes across as being a surprisingly deep and wonderful piece of music - a very pleasant surprise.

Of the pieces they have written 'Harmageddon' is my favourite, with some fantastic sounds (using harmonics) in the introduction, then breaks into something powerful (yet at times almost melancholy) that takes full use of the beatifully layered harmonies they can create.

Overall, there is some great music on this album. It is played by four brilliant cellists who can milk the pieces for all they're worth! I'd say a must-have for any thrash or classic metal fan, and a worthwhile purchase for anyone who is intrigued by the prospect of cellists playing heavy metal music.

Beauty from the Beasts, 12 Dec 2000
Introduced to me by my beautiful dutch girlfriend, Apocalyptica have created something even more poignant and simultaneously hard-hitting with their cellos than most bands can do with a 20k rig and everything modern musical technology has to offer. Their masterful hands manage to harness all the power of the songs they cover, adding enough melancholy to 'nothing else matters' to bring a tear, along with a fantastic delicacy and beauty to the pieces they do the honour of covering. Their own pieces are equally impressive.I need six stars to do this album justice. Do yourself a favour-buy it.

Brilliant!, 19 Feb 2000
Four men with cellos prove that classical and "metal" music can exist together. Probably louder and more agressive sounding than the original Metallica & Sepultura songs they cover on this album Apocalyptica are fabulous. But they also include some of their own compositions, so don't dismiss them as just a "cover" band. This album is the most original and fresh sound we've heard in years. If we could give it more "stars" we would.

Early Metal / Classical Crossover ...., 24 May 2008
Predating Metallica's S&M Classical mash-up by 3 years, this is an excellent Chamber Music take on Metallica's pre 1996 catalogue.
Be warned: JUST THE FOUR CELLOS: NO GUITAR/BASS/DRUMS/VOCALS AT ALL!
Fair play though, all the nuances, vocal lines, solos etc are faithfully reproduced through the cello arrangements! It's good stuff, although at times it feels a little sparse.
Standout Track: Sad But True - Really dark, urgent & a cool take on of Hammett's solo!

I'd also recommend the similiar, but fully orchestral, Scorched Earth Orchestra Tribute To Master Of Puppets - It's fantastic (see my review).


Too Hyped Up, 17 Dec 2007
I bought this record after seeing Apocalyptica perform at Eurovision, which I loved.

This record is just poor. It doesn't have any strength due to the lack of drums, and therefore all you get is four very simple cello lines which don't even work very well together.

My wife is a classicaly trained piano player and she actually forbade me from playing this at home, she found it discordant.

I look forward to finding a more recent album with a better production, I actually want to give these guys a chance, but this record was certainly a big disappointment.

Interesting but not great, 09 Oct 2007
I'll start off by saying that I'm not into classical music or anything like that, and this is basically the first cello-heavy album I've heard. So this is new to me, and it's fairly obvious even from the concept that it's going to take a while to get used to. However I've given it four or five listens which is normally enough for me.

Good points straight off - it's a really interesting idea: the solos and some of the interludes (James' solo on 'Master of Puppets' stands out) are obviously classically influenced and it shows here - they sound beautiful on cello. The musicianship, as far as I can tell, is good enough for the songs as I can't pick out any dropped notes or errors. A lot of the aggression is taken out of the songs without vocals, which makes it a bit more relaxing than you'd expect from Metallica songs. Standout tracks are 'The Unforgiven', 'Creeping Death' and 'Welcome Home (Sanitarium)'.

There are, however, a few downsides. For a start, I found the sound of two or three cellos doing staccato root notes simoultaneously a very ugly sound. It sounded clunky, a bit like what you'd expect kicking an acoustic guitar around to sound like. In other words, horrible. I got used to it eventually, but it takes the relaxing edge off the classical instrumentation - surely the whole point of playing the songs on cello is lost here.
Also, a few of the songs just don't sound right on cello. 'Enter Sandman' and 'Sad But True', for example. I'm personally not a fan of the originals so I'm biased, but I noticed the awkward sound most obviously on those tracks.
The final letdown is in 'Master of Puppets', which shows so much promise with a fantastic interlude and first solo, but the shredding solo is not attempted at all. So after building up for Kirk's solo, I was left speechless as the two-cello clunking was all i could hear instead.

'Master of Puppets' summed the album up really: there was so much potential in combining Metallica songs and classical instruments (S&M proved that), and the tenor passages are lovely to listen to. However, whatever you think of Metallica, and classical music for that matter, this doesnt fulfil the potential of either.

'tallica by four cellos..?..., 21 Sep 2005
it is very relaxing, but anyone considering purchasing this, must be able to accept something a little different.
if u havn't already got the S&M album, its definatly worth a look

Intresting, 17 Jun 2005
Before thinking about buying this... Ask Yourself a question... is it possible to play Metallica Covers using only 4 Chellos and a Drum Kit?

You would think its not possible and would not work. Well I saw these guys at Download 05 and caught the live version of Master Of Puppets and a version of Seek And Destroy (Not on this Album)both left me speechless.

So to answer my Question Yes it does work.

One of the most satisfying soundtrack "companion" pieces ever released, this collaboration between synthesist Wendy Carlos and producer Rachel Elkind manages to both logically extend and credibly expand on director Stanley Kubrick's masterfully conceived Clockwork Orange musical ethos. That shouldn't be surprising, as the pair was largely responsible for initiating those concepts with the music they'd begun as a follow-up to their successful, synthesizer-pioneering Switched on Bach collection. "Timesteps", a rich, wildly evocative, 13+ minute electronic sound and music collage, was based on impressions gleaned from Anthony Burgess's original novel (excerpts of it are liberally scattered throughout the film), while an abridged version of the fourth movement of Beethoven's Ninth Symphony was an early experiment in vocal synthesis that ended up as one of the film's key motifs. Also featured here are synthesized versions of music Kubrick ultimately chose to use in orchestral form (Rossini's "The Thieving Magpie") as well as original Carlos/Elkind electronic compositions ("Orange Minuet", "Biblical Daydreams", and "Country Lane") that ended up on the cutting-room floor. Composed on primitive, monophonic analogue instruments (which could play only one at a time!) long supplanted by generations of digital revolution, this work has a brooding otherworldly quality all its own. As our favourite Droog would say: "It was like a bird of rarest spun metal, or like silvery wine flowing in a space ship, gravity all nonsense now." --Jerry McCulley

Simply brilliant, 03 Feb 2006
A hybrid of seemingly impossible genres, but they pull it off, and more! This has to be one of the best albums I have ever heard. If you have a dark classical side, or even if you just like metal and have an open mind then this worth buying, just listen to "nothing else matters"...

This band and their work need to be celibrated. Six stars...

Stunning simplicity and complexity, 28 Sep 2005
Apocalyptica have produced a tour de force of emotion and mood with this collection. At times I found that I had to close my eyes and sit back to take in the breadth and depth of what is being served up.

If you want to experience classical instruments played with passion then this cd will give you all that and more.

SO much more than a novelty, 15 May 2004
Firstly I'd like to say, having seen some of the reviews for Apocalyptica's first album, I was appalled. Hearing the unbelievable wealth of sound that these guys get out of their cellos, how could anyone say these sibelius academy graduates are anything but brilliant?

For me, they are best when doing slow and mellow songs, on this album notably 'Nothing Else Matters', 'Fade to Black' and 'One'. Breathtaking.

Of the more traditional thrash covers, 'Domination' deserves a mention, not least because they actually play the solo!!

'From Out of Nowhere' comes across as being a surprisingly deep and wonderful piece of music - a very pleasant surprise.

Of the pieces they have written 'Harmageddon' is my favourite, with some fantastic sounds (using harmonics) in the introduction, then breaks into something powerful (yet at times almost melancholy) that takes full use of the beatifully layered harmonies they can create.

Overall, there is some great music on this album. It is played by four brilliant cellists who can milk the pieces for all they're worth! I'd say a must-have for any thrash or classic metal fan, and a worthwhile purchase for anyone who is intrigued by the prospect of cellists playing heavy metal music.

Beauty from the Beasts, 12 Dec 2000
Introduced to me by my beautiful dutch girlfriend, Apocalyptica have created something even more poignant and simultaneously hard-hitting with their cellos than most bands can do with a 20k rig and everything modern musical technology has to offer. Their masterful hands manage to harness all the power of the songs they cover, adding enough melancholy to 'nothing else matters' to bring a tear, along with a fantastic delicacy and beauty to the pieces they do the honour of covering. Their own pieces are equally impressive.I need six stars to do this album justice. Do yourself a favour-buy it.

Brilliant!, 19 Feb 2000
Four men with cellos prove that classical and "metal" music can exist together. Probably louder and more agressive sounding than the original Metallica & Sepultura songs they cover on this album Apocalyptica are fabulous. But they also include some of their own compositions, so don't dismiss them as just a "cover" band. This album is the most original and fresh sound we've heard in years. If we could give it more "stars" we would.

Early Metal / Classical Crossover ...., 24 May 2008
Predating Metallica's S&M Classical mash-up by 3 years, this is an excellent Chamber Music take on Metallica's pre 1996 catalogue.
Be warned: JUST THE FOUR CELLOS: NO GUITAR/BASS/DRUMS/VOCALS AT ALL!
Fair play though, all the nuances, vocal lines, solos etc are faithfully reproduced through the cello arrangements! It's good stuff, although at times it feels a little sparse.
Standout Track: Sad But True - Really dark, urgent & a cool take on of Hammett's solo!

I'd also recommend the similiar, but fully orchestral, Scorched Earth Orchestra Tribute To Master Of Puppets - It's fantastic (see my review).


Too Hyped Up, 17 Dec 2007
I bought this record after seeing Apocalyptica perform at Eurovision, which I loved.

This record is just poor. It doesn't have any strength due to the lack of drums, and therefore all you get is four very simple cello lines which don't even work very well together.

My wife is a classicaly trained piano player and she actually forbade me from playing this at home, she found it discordant.

I look forward to finding a more recent album with a better production, I actually want to give these guys a chance, but this record was certainly a big disappointment.

Interesting but not great, 09 Oct 2007
I'll start off by saying that I'm not into classical music or anything like that, and this is basically the first cello-heavy album I've heard. So this is new to me, and it's fairly obvious even from the concept that it's going to take a while to get used to. However I've given it four or five listens which is normally enough for me.

Good points straight off - it's a really interesting idea: the solos and some of the interludes (James' solo on 'Master of Puppets' stands out) are obviously classically influenced and it shows here - they sound beautiful on cello. The musicianship, as far as I can tell, is good enough for the songs as I can't pick out any dropped notes or errors. A lot of the aggression is taken out of the songs without vocals, which makes it a bit more relaxing than you'd expect from Metallica songs. Standout tracks are 'The Unforgiven', 'Creeping Death' and 'Welcome Home (Sanitarium)'.

There are, however, a few downsides. For a start, I found the sound of two or three cellos doing staccato root notes simoultaneously a very ugly sound. It sounded clunky, a bit like what you'd expect kicking an acoustic guitar around to sound like. In other words, horrible. I got used to it eventually, but it takes the relaxing edge off the classical instrumentation - surely the whole point of playing the songs on cello is lost here.
Also, a few of the songs just don't sound right on cello. 'Enter Sandman' and 'Sad But True', for example. I'm personally not a fan of the originals so I'm biased, but I noticed the awkward sound most obviously on those tracks.
The final letdown is in 'Master of Puppets', which shows so much promise with a fantastic interlude and first solo, but the shredding solo is not attempted at all. So after building up for Kirk's solo, I was left speechless as the two-cello clunking was all i could hear instead.

'Master of Puppets' summed the album up really: there was so much potential in combining Metallica songs and classical instruments (S&M proved that), and the tenor passages are lovely to listen to. However, whatever you think of Metallica, and classical music for that matter, this doesnt fulfil the potential of either.

'tallica by four cellos..?..., 21 Sep 2005
it is very relaxing, but anyone considering purchasing this, must be able to accept something a little different.
if u havn't already got the S&M album, its definatly worth a look

Intresting, 17 Jun 2005
Before thinking about buying this... Ask Yourself a question... is it possible to play Metallica Covers using only 4 Chellos and a Drum Kit?

You would think its not possible and would not work. Well I saw these guys at Download 05 and caught the live version of Master Of Puppets and a version of Seek And Destroy (Not on this Album)both left me speechless.

So to answer my Question Yes it does work.

This complete electronic score is Carlos' best work., 10 Oct 2007
The album was first released by CBS in 1972, shortly after Warner's official soundtrack album. The electronic-only offering contained two tracks not featured on the soundtrack and the only complete version of "Timesteps". The sound quality was also superior, particularly at the low-end of the audio spectrum.

In 1998 Carlos remastered her electronic score for CD. New to this release are two bonus tracks - charming but slight- that could not be included on the original vinyl release due to space contraints. It all sounds excellent and the CD booklet contains the original liner notes and cover art as well as the story of the remastering and the bonus tracks.

If you cherished the CBS vinyl album, then this CD is an essential purchase.

For those unfamiliar with the soundtrack but who know Carlos' other work or just love electronic music a la Moog, it is an essential listen. I believe this is Carlos' best work, certainly the pinnacle of her collaborations with producer Rachel Elkind (who memorably provided the vocoded singing on "Beethoven's Ninth"). The music combines several original compositions with sophisticated and spirited realisations of "Beethoven's Ninth" Symphony and Rossini's "Thieving Magpie" among others.

The original compositions are the making of this CD. "Timesteps", was inspired by Carlos' reading of the novel "A Clockwork Orange" and consists of a melange of short, atmospheric pieces - melodic, rhythmic, disturbing, surging and ebbing in turn. "Country Lane" is a shorter piece and was composed (but ultimately not used) for the scene in the film where Alex is taken into the country and savagely beaten by his former 'droogs' - now policemen. The music is rhythmic and dramatic and incorporates musical motifs from other scenes in the film. Particularly effective is the mocking, decending motif from "Thieving Magpie" and the creepy use of a vocoded "Singing' in the Rain" over a synth generated thunderstorm as Alex returns to the scene of an earlier crime where retribution awaits him.

Wonderful.

Work Carlos produced for Kubrick that s/he wanted Kubrick to use in the film, 16 May 2006
This is largely the collection of work Carlos produced for Kubrick that s/he wanted Kubrick to use in the film. In the event Kubrick used some whole, some in part, and some orchestrally played originals instead of the synth versions Carlos came up with. I imagine the synth versions were of titles suggested by Kubrick. I have this on LP with artwork of an orange on the cover, bought contemporanesously with the film in the early 70s, though I was too young to see it, it was banned in the UK, and later I forgot about the film, though knew its reputation. Only in recent years have I bought the DVD of the film, magically connecting a 30 year circle nearly fried my brain in a mixture of a classic film, trail blazing musical realisations, and of course a dose of nostalgia (let alone short circuiting time to the tune of 30 years). If you liked the soundtrack, this is more of the same, made at the same time. No wonder it is so satisfying. I cut of the film with all-Carlos soundtrack would be nice.

Truly the Original Synth., 05 Aug 2003
I bought this album when it came out on vinyl, oh so many years ago, and played it until it was worn out. Like another reviewer, I bought the CD version a few years ago only to find that Wendy Carlos' contributions were cut right back and many other contributers took their place.

Buy this version. It is far superior and shows Carlos to be the most innovative electronic musician of the age. When this was recorded synthesisers were mostly if not completely monophonic instruments. Therefore multi-tracking was the name of the game. So much work was done before the advent of the technology that would undoubtedly have made life easier.

Well worth listening to is Carlos' ground breaking "Timesteps". It really would have suited the opening scenes of the film. My personal favourite here is Carlos' own "Country Lane". This is just sublime and does, as the sleeve notes point out, sum up the entire Clockwork Orange movie.

Timesteps may be a little difficult for the uninitiated so initially get into but, stick with it and you'll be well rewarded. Beethoven, Rossini and Purcell are all featured alongside the Carlos compositions. This album contains music that didn't make it onto the film soundtrack and two bonus tracks, Orange Minuet and Biblical Daydreams, are included for those who remember the original vinyl release.

What are you waiting for? This is electronic music at its best.

A Clockwork Orange and more, 22 Oct 2002
Walter Carlos collaborated with Stanley Kubrick on his films for many years. Carlos had become huge with his ground-breaking "Switched on Bach" albums. It was this revolutionary space age synth sound that Kubrick wanted for a Clockwork Orange.

Carlos had already written the atmospheric "Timesteps" (the first track on the album) when Kubrick called him about the film. It became the music for Alex's mind altering therapy sessions. The other music was based on ideas from Carlos and Kubrick themselves as well as from the original Burgess novel.

Unlike the official Warner Brothers soundtrack release, this album contains purely Carlos synthesiser music, some of which that was written for but not used in a Clockwork Orange. It is fantastic, and the stereo mix makes it great driving music. But mind you don't end up playing "Devil of the Road!"

A London Labyrinth favourite, 26 Mar 2000
If your curiosity has brought you as far as considering buying this album, there are good reasons to go ahead but be aware of the Warner Brothers 'Clockwork Orange Soundtrack' which I would recommend first. If you have arrived here via the book or the film you may find this music bewildering. If you want a token Carlos album for your collection, Switched On Bach was the biggie and effectively year zero for electronica as a music category in popular culture. Like much of the music here, however, it is kitsch and twee, sometimes interesting, always clever, sometimes unsettling, always soulless. Such shortcomings are very evident on this compilation, stripped as it is of the playful irony afforded by the context of the film or the extraordinary juxtapositions of contrasting sonic assaults featured by Kubrick on the Soundtrack where the classical covers rub shoulders with medieval and Vaudeville numbers, Gene Kelly and far-out Carlos originals. It provided a shocking musical tapestry thirty years ago and still sounds powerful today. The Soundtrack was certainly more than the sum of its parts which cannot be said of this Carlos-only CD. If you know early seventies electro-dilettantes like Rick Wakeman ( Cans And Brahms, Six Wives...), David Bedford (The Ancient Mariner) and even John Barry (The Persuaders), some of the original inspiration can be found here. 'Country Lane' which is absent from the Soundtrack CD had a huge influence on the rash of later synth bands despite its lack of anything resembling a backbeat. I'm sure an enterprising remixer could still make a club hit of it if they ignored the waltz-time opening. The main reason for buying this album, however, is the inclusion of the full-length version of 'Timesteps,' a Carlos original shortened by nearly ten minutes on the Soundtrack. This full version is a fascinating piece in which Carlos manages to keep an eye on fleeting melodies while pushing the envelope with the arrangement to explore the new synthetic palette instead of merely immitating an orchestra. The second to fifth minutes correspond to the abridged version which sounded almost frightening in its originality all those tears ago. I'm afraid I disagree with Carlos, however, when she bemoans the compression and tweaking applied to 'Timesteps (Excerpt)' for the Soundtrack. If you compare the two, the abridged section sounds better mixed and much punchier, especially to modern ears. So, whichever way you approach it, a flawed gem but one which still shines (fairly) undimmed. Buy both.

Simply brilliant, 03 Feb 2006
A hybrid of seemingly impossible genres, but they pull it off, and more! This has to be one of the best albums I have ever heard. If you have a dark classical side, or even if you just like metal and have an open mind then this worth buying, just listen to "nothing else matters"...

This band and their work need to be celibrated. Six stars...

Stunning simplicity and complexity, 28 Sep 2005
Apocalyptica have produced a tour de force of emotion and mood with this collection. At times I found that I had to close my eyes and sit back to take in the breadth and depth of what is being served up.

If you want to experience classical instruments played with passion then this cd will give you all that and more.

SO much more than a novelty, 15 May 2004
Firstly I'd like to say, having seen some of the reviews for Apocalyptica's first album, I was appalled. Hearing the unbelievable wealth of sound that these guys get out of their cellos, how could anyone say these sibelius academy graduates are anything but brilliant?

For me, they are best when doing slow and mellow songs, on this album notably 'Nothing Else Matters', 'Fade to Black' and 'One'. Breathtaking.

Of the more traditional thrash covers, 'Domination' deserves a mention, not least because they actually play the solo!!

'From Out of Nowhere' comes across as being a surprisingly deep and wonderful piece of music - a very pleasant surprise.

Of the pieces they have written 'Harmageddon' is my favourite, with some fantastic sounds (using harmonics) in the introduction, then breaks into something powerful (yet at times almost melancholy) that takes full use of the beatifully layered harmonies they can create.

Overall, there is some great music on this album. It is played by four brilliant cellists who can milk the pieces for all they're worth! I'd say a must-have for any thrash or classic metal fan, and a worthwhile purchase for anyone who is intrigued by the prospect of cellists playing heavy metal music.

Beauty from the Beasts, 12 Dec 2000
Introduced to me by my beautiful dutch girlfriend, Apocalyptica have created something even more poignant and simultaneously hard-hitting with their cellos than most bands can do with a 20k rig and everything modern musical technology has to offer. Their masterful hands manage to harness all the power of the songs they cover, adding enough melancholy to 'nothing else matters' to bring a tear, along with a fantastic delicacy and beauty to the pieces they do the honour of covering. Their own pieces are equally impressive.I need six stars to do this album justice. Do yourself a favour-buy it.

Brilliant!, 19 Feb 2000
Four men with cellos prove that classical and "metal" music can exist together. Probably louder and more agressive sounding than the original Metallica & Sepultura songs they cover on this album Apocalyptica are fabulous. But they also include some of their own compositions, so don't dismiss them as just a "cover" band. This album is the most original and fresh sound we've heard in years. If we could give it more "stars" we would.

Early Metal / Classical Crossover ...., 24 May 2008
Predating Metallica's S&M Classical mash-up by 3 years, this is an excellent Chamber Music take on Metallica's pre 1996 catalogue.
Be warned: JUST THE FOUR CELLOS: NO GUITAR/BASS/DRUMS/VOCALS AT ALL!
Fair play though, all the nuances, vocal lines, solos etc are faithfully reproduced through the cello arrangements! It's good stuff, although at times it feels a little sparse.
Standout Track: Sad But True - Really dark, urgent & a cool take on of Hammett's solo!

I'd also recommend the similiar, but fully orchestral, Scorched Earth Orchestra Tribute To Master Of Puppets - It's fantastic (see my review).


Too Hyped Up, 17 Dec 2007
I bought this record after seeing Apocalyptica perform at Eurovision, which I loved.

This record is just poor. It doesn't have any strength due to the lack of drums, and therefore all you get is four very simple cello lines which don't even work very well together.

My wife is a classicaly trained piano player and she actually forbade me from playing this at home, she found it discordant.

I look forward to finding a more recent album with a better production, I actually want to give these guys a chance, but this record was certainly a big disappointment.

Interesting but not great, 09 Oct 2007
I'll start off by saying that I'm not into classical music or anything like that, and this is basically the first cello-heavy album I've heard. So this is new to me, and it's fairly obvious even from the concept that it's going to take a while to get used to. However I've given it four or five listens which is normally enough for me.

Good points straight off - it's a really interesting idea: the solos and some of the interludes (James' solo on 'Master of Puppets' stands out) are obviously classically influenced and it shows here - they sound beautiful on cello. The musicianship, as far as I can tell, is good enough for the songs as I can't pick out any dropped notes or errors. A lot of the aggression is taken out of the songs without vocals, which makes it a bit more relaxing than you'd expect from Metallica songs. Standout tracks are 'The Unforgiven', 'Creeping Death' and 'Welcome Home (Sanitarium)'.

There are, however, a few downsides. For a start, I found the sound of two or three cellos doing staccato root notes simoultaneously a very ugly sound. It sounded clunky, a bit like what you'd expect kicking an acoustic guitar around to sound like. In other words, horrible. I got used to it eventually, but it takes the relaxing edge off the classical instrumentation - surely the whole point of playing the songs on cello is lost here.
Also, a few of the songs just don't sound right on cello. 'Enter Sandman' and 'Sad But True', for example. I'm personally not a fan of the originals so I'm biased, but I noticed the awkward sound most obviously on those tracks.
The final letdown is in 'Master of Puppets', which shows so much promise with a fantastic interlude and first solo, but the shredding solo is not attempted at all. So after building up for Kirk's solo, I was left speechless as the two-cello clunking was all i could hear instead.

'Master of Puppets' summed the album up really: there was so much potential in combining Metallica songs and classical instruments (S&M proved that), and the tenor passages are lovely to listen to. However, whatever you think of Metallica, and classical music for that matter, this doesnt fulfil the potential of either.

'tallica by four cellos..?..., 21 Sep 2005
it is very relaxing, but anyone considering purchasing this, must be able to accept something a little different.
if u havn't already got the S&M album, its definatly worth a look

Intresting, 17 Jun 2005
Before thinking about buying this... Ask Yourself a question... is it possible to play Metallica Covers using only 4 Chellos and a Drum Kit?

You would think its not possible and would not work. Well I saw these guys at Download 05 and caught the live version of Master Of Puppets and a version of Seek And Destroy (Not on this Album)both left me speechless.

So to answer my Question Yes it does work.

This complete electronic score is Carlos' best work., 10 Oct 2007
The album was first released by CBS in 1972, shortly after Warner's official soundtrack album. The electronic-only offering contained two tracks not featured on the soundtrack and the only complete version of "Timesteps". The sound quality was also superior, particularly at the low-end of the audio spectrum.

In 1998 Carlos remastered her electronic score for CD. New to this release are two bonus tracks - charming but slight- that could not be included on the original vinyl release due to space contraints. It all sounds excellent and the CD booklet contains the original liner notes and cover art as well as the story of the remastering and the bonus tracks.

If you cherished the CBS vinyl album, then this CD is an essential purchase.

For those unfamiliar with the soundtrack but who know Carlos' other work or just love electronic music a la Moog, it is an essential listen. I believe this is Carlos' best work, certainly the pinnacle of her collaborations with producer Rachel Elkind (who memorably provided the vocoded singing on "Beethoven's Ninth"). The music combines several original compositions with sophisticated and spirited realisations of "Beethoven's Ninth" Symphony and Rossini's "Thieving Magpie" among others.

The original compositions are the making of this CD. "Timesteps", was inspired by Carlos' reading of the novel "A Clockwork Orange" and consists of a melange of short, atmospheric pieces - melodic, rhythmic, disturbing, surging and ebbing in turn. "Country Lane" is a shorter piece and was composed (but ultimately not used) for the scene in the film where Alex is taken into the country and savagely beaten by his former 'droogs' - now policemen. The music is rhythmic and dramatic and incorporates musical motifs from other scenes in the film. Particularly effective is the mocking, decending motif from "Thieving Magpie" and the creepy use of a vocoded "Singing' in the Rain" over a synth generated thunderstorm as Alex returns to the scene of an earlier crime where retribution awaits him.

Wonderful.

Work Carlos produced for Kubrick that s/he wanted Kubrick to use in the film, 16 May 2006
This is largely the collection of work Carlos produced for Kubrick that s/he wanted Kubrick to use in the film. In the event Kubrick used some whole, some in part, and some orchestrally played originals instead of the synth versions Carlos came up with. I imagine the synth versions were of titles suggested by Kubrick. I have this on LP with artwork of an orange on the cover, bought contemporanesously with the film in the early 70s, though I was too young to see it, it was banned in the UK, and later I forgot about the film, though knew its reputation. Only in recent years have I bought the DVD of the film, magically connecting a 30 year circle nearly fried my brain in a mixture of a classic film, trail blazing musical realisations, and of course a dose of nostalgia (let alone short circuiting time to the tune of 30 years). If you liked the soundtrack, this is more of the same, made at the same time. No wonder it is so satisfying. I cut of the film with all-Carlos soundtrack would be nice.

Truly the Original Synth., 05 Aug 2003
I bought this album when it came out on vinyl, oh so many years ago, and played it until it was worn out. Like another reviewer, I bought the CD version a few years ago only to find that Wendy Carlos' contributions were cut right back and many other contributers took their place.

Buy this version. It is far superior and shows Carlos to be the most innovative electronic musician of the age. When this was recorded synthesisers were mostly if not completely monophonic instruments. Therefore multi-tracking was the name of the game. So much work was done before the advent of the technology that would undoubtedly have made life easier.

Well worth listening to is Carlos' ground breaking "Timesteps". It really would have suited the opening scenes of the film. My personal favourite here is Carlos' own "Country Lane". This is just sublime and does, as the sleeve notes point out, sum up the entire Clockwork Orange movie.

Timesteps may be a little difficult for the uninitiated so initially get into but, stick with it and you'll be well rewarded. Beethoven, Rossini and Purcell are all featured alongside the Carlos compositions. This album contains music that didn't make it onto the film soundtrack and two bonus tracks, Orange Minuet and Biblical Daydreams, are included for those who remember the original vinyl release.

What are you waiting for? This is electronic music at its best.

A Clockwork Orange and more, 22 Oct 2002
Walter Carlos collaborated with Stanley Kubrick on his films for many years. Carlos had become huge with his ground-breaking "Switched on Bach" albums. It was this revolutionary space age synth sound that Kubrick wanted for a Clockwork Orange.

Carlos had already written the atmospheric "Timesteps" (the first track on the album) when Kubrick called him about the film. It became the music for Alex's mind altering therapy sessions. The other music was based on ideas from Carlos and Kubrick themselves as well as from the original Burgess novel.

Unlike the official Warner Brothers soundtrack release, this album contains purely Carlos synthesiser music, some of which that was written for but not used in a Clockwork Orange. It is fantastic, and the stereo mix makes it great driving music. But mind you don't end up playing "Devil of the Road!"

A London Labyrinth favourite, 26 Mar 2000
If your curiosity has brought you as far as considering buying this album, there are good reasons to go ahead but be aware of the Warner Brothers 'Clockwork Orange Soundtrack' which I would recommend first. If you have arrived here via the book or the film you may find this music bewildering. If you want a token Carlos album for your collection, Switched On Bach was the biggie and effectively year zero for electronica as a music category in popular culture. Like much of the music here, however, it is kitsch and twee, sometimes interesting, always clever, sometimes unsettling, always soulless. Such shortcomings are very evident on this compilation, stripped as it is of the playful irony afforded by the context of the film or the extraordinary juxtapositions of contrasting sonic assaults featured by Kubrick on the Soundtrack where the classical covers rub shoulders with medieval and Vaudeville numbers, Gene Kelly and far-out Carlos originals. It provided a shocking musical tapestry thirty years ago and still sounds powerful today. The Soundtrack was certainly more than the sum of its parts which cannot be said of this Carlos-only CD. If you know early seventies electro-dilettantes like Rick Wakeman ( Cans And Brahms, Six Wives...), David Bedford (The Ancient Mariner) and even John Barry (The Persuaders), some of the original inspiration can be found here. 'Country Lane' which is absent from the Soundtrack CD had a huge influence on the rash of later synth bands despite its lack of anything resembling a backbeat. I'm sure an enterprising remixer could still make a club hit of it if they ignored the waltz-time opening. The main reason for buying this album, however, is the inclusion of the full-length version of 'Timesteps,' a Carlos original shortened by nearly ten minutes on the Soundtrack. This full version is a fascinating piece in which Carlos manages to keep an eye on fleeting melodies while pushing the envelope with the arrangement to explore the new synthetic palette instead of merely immitating an orchestra. The second to fifth minutes correspond to the abridged version which sounded almost frightening in its originality all those tears ago. I'm afraid I disagree with Carlos, however, when she bemoans the compression and tweaking applied to 'Timesteps (Excerpt)' for the Soundtrack. If you compare the two, the abridged section sounds better mixed and much punchier, especially to modern ears. So, whichever way you approach it, a flawed gem but one which still shines (fairly) undimmed. Buy both.

Prompted me to learn the cello., 09 Sep 2006
I found Apocalyptica by accident while browsing and I'm glad I did, I love this music, the cello sound is wonderful and haunting mixed with the heavy metal. I am over 40 but have started to learn the cello due to hearing this CD alone. I have since bought more Apocalyptica, and although some tracks can sound a bit similar to the untrained ear, I still enjoy them. The tracks with vocals can be a bit heavy, but the instrumentals are great.

Classically beautiful, 27 Oct 2005
Apocalyptica are one of the most original and talented bands to surface in the past 20 years, introducing younger audiences to the power of classical instruments, and providing some much-needed variation in the increasingly samey world of rock and metal.
Their decision to feature German punk legend Nina Hagen on this album was possibly the best they've ever made - her massive cigars-and-brandy voice sounds as if it was made for them. Their breathtaking cover of Rammstein's 1995 classic 'Seemann' is one of the few versions that could better the original, and given the Berlin industrialists' enormous talent, this is no shallow comparison.
Performing live, Apocalyptica are true stars and need no flashy visuals to enhance their presence. They have the rare ability to appeal to a wide range of listeners (including the long-suffering parents of children who like Slipknot!), and can perform cover versions without ever sounding like they're ripping off the original tracks: Eicca Toppinen's arrangements are original, beautiful and faithful to the existing songs, yet still have Apocalyptica's musical fingerprints all over them.
Even if you've never heard of this band, buy an album - you'll wish you'd done it sooner.

Magic in Music, 29 Nov 2004
Well. This is a shock, having listened to their metallica covers amongst their tool and pantera covers i thought id heard most of what these clearly talented musicians had to offer, oh how wrong i was. This album is sheer musical genius, raw yet calm and composed. The distorted chello complementing the clean string sounds, the addition of drums adds a lot to this record. Theyve written a metal classic, i cant recommend it enough. Even if you dont think chellos and metal mix you MUST buy this album.

Simply brilliant, 03 Feb 2006
A hybrid of seemingly impossible genres, but they pull it off, and more! This has to be one of the best albums I have ever heard. If you have a dark classical side, or even if you just like metal and have an open mind then this worth buying, just listen to "nothing else matters"...

This band and their work need to be celibrated. Six stars...

Stunning simplicity and complexity, 28 Sep 2005
Apocalyptica have produced a tour de force of emotion and mood with this collection. At times I found that I had to close my eyes and sit back to take in the breadth and depth of what is being served up.

If you want to experience classical instruments played with passion then this cd will give you all that and more.

SO much more than a novelty, 15 May 2004
Firstly I'd like to say, having seen some of the reviews for Apocalyptica's first album, I was appalled. Hearing the unbelievable wealth of sound that these guys get out of their cellos, how could anyone say these sibelius academy graduates are anything but brilliant?

For me, they are best when doing slow and mellow songs, on this album notably 'Nothing Else Matters', 'Fade to Black' and 'One'. Breathtaking.

Of the more traditional thrash covers, 'Domination' deserves a mention, not least because they actually play the solo!!

'From Out of Nowhere' comes across as being a surprisingly deep and wonderful piece of music - a very pleasant surprise.

Of the pieces they have written 'Harmageddon' is my favourite, with some fantastic sounds (using harmonics) in the introduction, then breaks into something powerful (yet at times almost melancholy) that takes full use of the beatifully layered harmonies they can create.

Overall, there is some great music on this album. It is played by four brilliant cellists who can milk the pieces for all they're worth! I'd say a must-have for any thrash or classic metal fan, and a worthwhile purchase for anyone who is intrigued by the prospect of cellists playing heavy metal music.

Beauty from the Beasts, 12 Dec 2000
Introduced to me by my beautiful dutch girlfriend, Apocalyptica have created something even more poignant and simultaneously hard-hitting with their cellos than most bands can do with a 20k rig and everything modern musical technology has to offer. Their masterful hands manage to harness all the power of the songs they cover, adding enough melancholy to 'nothing else matters' to bring a tear, along with a fantastic delicacy and beauty to the pieces they do the honour of covering. Their own pieces are equally impressive.I need six stars to do this album justice. Do yourself a favour-buy it.

Brilliant!, 19 Feb 2000
Four men with cellos prove that classical and "metal" music can exist together. Probably louder and more agressive sounding than the original Metallica & Sepultura songs they cover on this album Apocalyptica are fabulous. But they also include some of their own compositions, so don't dismiss them as just a "cover" band. This album is the most original and fresh sound we've heard in years. If we could give it more "stars" we would.

Early Metal / Classical Crossover ...., 24 May 2008
Predating Metallica's S&M Classical mash-up by 3 years, this is an excellent Chamber Music take on Metallica's pre 1996 catalogue.
Be warned: JUST THE FOUR CELLOS: NO GUITAR/BASS/DRUMS/VOCALS AT ALL!
Fair play though, all the nuances, vocal lines, solos etc are faithfully reproduced through the cello arrangements! It's good stuff, although at times it feels a little sparse.
Standout Track: Sad But True - Really dark, urgent & a cool take on of Hammett's solo!

I'd also recommend the similiar, but fully orchestral, Scorched Earth Orchestra Tribute To Master Of Puppets - It's fantastic (see my review).


Too Hyped Up, 17 Dec 2007
I bought this record after seeing Apocalyptica perform at Eurovision, which I loved.

This record is just poor. It doesn't have any strength due to the lack of drums, and therefore all you get is four very simple cello lines which don't even work very well together.

My wife is a classicaly trained piano player and she actually forbade me from playing this at home, she found it discordant.

I look forward to finding a more recent album with a better production, I actually want to give these guys a chance, but this record was certainly a big disappointment.

Interesting but not great, 09 Oct 2007
I'll start off by saying that I'm not into classical music or anything like that, and this is basically the first cello-heavy album I've heard. So this is new to me, and it's fairly obvious even from the concept that it's going to take a while to get used to. However I've given it four or five listens which is normally enough for me.

Good points straight off - it's a really interesting idea: the solos and some of the interludes (James' solo on 'Master of Puppets' stands out) are obviously classically influenced and it shows here - they sound beautiful on cello. The musicianship, as far as I can tell, is good enough for the songs as I can't pick out any dropped notes or errors. A lot of the aggression is taken out of the songs without vocals, which makes it a bit more relaxing than you'd expect from Metallica songs. Standout tracks are 'The Unforgiven', 'Creeping Death' and 'Welcome Home (Sanitarium)'.

There are, however, a few downsides. For a start, I found the sound of two or three cellos doing staccato root notes simoultaneously a very ugly sound. It sounded clunky, a bit like what you'd expect kicking an acoustic guitar around to sound like. In other words, horrible. I got used to it eventually, but it takes the relaxing edge off the classical instrumentation - surely the whole point of playing the songs on cello is lost here.
Also, a few of the songs just don't sound right on cello. 'Enter Sandman' and 'Sad But True', for example. I'm personally not a fan of the originals so I'm biased, but I noticed the awkward sound most obviously on those tracks.
The final letdown is in 'Master of Puppets', which shows so much promise with a fantastic interlude and first solo, but the shredding solo is not attempted at all. So after building up for Kirk's solo, I was left speechless as the two-cello clunking was all i could hear instead.

'Master of Puppets' summed the album up really: there was so much potential in combining Metallica songs and classical instruments (S&M proved that), and the tenor passages are lovely to listen to. However, whatever you think of Metallica, and classical music for that matter, this doesnt fulfil the potential of either.

'tallica by four cellos..?..., 21 Sep 2005
it is very relaxing, but anyone considering purchasing this, must be able to accept something a little different.
if u havn't already got the S&M album, its definatly worth a look

Intresting, 17 Jun 2005
Before thinking about buying this... Ask Yourself a question... is it possible to play Metallica Covers using only 4 Chellos and a Drum Kit?

You would think its not possible and would not work. Well I saw these guys at Download 05 and caught the live version of Master Of Puppets and a version of Seek And Destroy (Not on this Album)both left me speechless.

So to answer my Question Yes it does work.

This complete electronic score is Carlos' best work., 10 Oct 2007
The album was first released by CBS in 1972, shortly after Warner's official soundtrack album. The electronic-only offering contained two tracks not featured on the soundtrack and the only complete version of "Timesteps". The sound quality was also superior, particularly at the low-end of the audio spectrum.

In 1998 Carlos remastered her electronic score for CD. New to this release are two bonus tracks - charming but slight- that could not be included on the original vinyl release due to space contraints. It all sounds excellent and the CD booklet contains the original liner notes and cover art as well as the story of the remastering and the bonus tracks.

If you cherished the CBS vinyl album, then this CD is an essential purchase.

For those unfamiliar with the soundtrack but who know Carlos' other work or just love electronic music a la Moog, it is an essential listen. I believe this is Carlos' best work, certainly the pinnacle of her collaborations with producer Rachel Elkind (who memorably provided the vocoded singing on "Beethoven's Ninth"). The music combines several original compositions with sophisticated and spirited realisations of "Beethoven's Ninth" Symphony and Rossini's "Thieving Magpie" among others.

The original compositions are the making of this CD. "Timesteps", was inspired by Carlos' reading of the novel "A Clockwork Orange" and consists of a melange of short, atmospheric pieces - melodic, rhythmic, disturbing, surging and ebbing in turn. "Country Lane" is a shorter piece and was composed (but ultimately not used) for the scene in the film where Alex is taken into the country and savagely beaten by his former 'droogs' - now policemen. The music is rhythmic and dramatic and incorporates musical motifs from other scenes in the film. Particularly effective is the mocking, decending motif from "Thieving Magpie" and the creepy use of a vocoded "Singing' in the Rain" over a synth generated thunderstorm as Alex returns to the scene of an earlier crime where retribution awaits him.

Wonderful.

Work Carlos produced for Kubrick that s/he wanted Kubrick to use in the film, 16 May 2006
This is largely the collection of work Carlos produced for Kubrick that s/he wanted Kubrick to use in the film. In the event Kubrick used some whole, some in part, and some orchestrally played originals instead of the synth versions Carlos came up with. I imagine the synth versions were of titles suggested by Kubrick. I have this on LP with artwork of an orange on the cover, bought contemporanesously with the film in the early 70s, though I was too young to see it, it was banned in the UK, and later I forgot about the film, though knew its reputation. Only in recent years have I bought the DVD of the film, magically connecting a 30 year circle nearly fried my brain in a mixture of a classic film, trail blazing musical realisations, and of course a dose of nostalgia (let alone short circuiting time to the tune of 30 years). If you liked the soundtrack, this is more of the same, made at the same time. No wonder it is so satisfying. I cut of the film with all-Carlos soundtrack would be nice.

Truly the Original Synth., 05 Aug 2003
I bought this album when it came out on vinyl, oh so many years ago, and played it until it was worn out. Like another reviewer, I bought the CD version a few years ago only to find that Wendy Carlos' contributions were cut right back and many other contributers took their place.

Buy this version. It is far superior and shows Carlos to be the most innovative electronic musician of the age. When this was recorded synthesisers were mostly if not completely monophonic instruments. Therefore multi-tracking was the name of the game. So much work was done before the advent of the technology that would undoubtedly have made life easier.

Well worth listening to is Carlos' ground breaking "Timesteps". It really would have suited the opening scenes of the film. My personal favourite here is Carlos' own "Country Lane". This is just sublime and does, as the sleeve notes point out, sum up the entire Clockwork Orange movie.

Timesteps may be a little difficult for the uninitiated so initially get into but, stick with it and you'll be well rewarded. Beethoven, Rossini and Purcell are all featured alongside the Carlos compositions. This album contains music that didn't make it onto the film soundtrack and two bonus tracks, Orange Minuet and Biblical Daydreams, are included for those who remember the original vinyl release.

What are you waiting for? This is electronic music at its best.

A Clockwork Orange and more, 22 Oct 2002
Walter Carlos collaborated with Stanley Kubrick on his films for many years. Carlos had become huge with his ground-breaking "Switched on Bach" albums. It was this revolutionary space age synth sound that Kubrick wanted for a Clockwork Orange.

Carlos had already written the atmospheric "Timesteps" (the first track on the album) when Kubrick called him about the film. It became the music for Alex's mind altering therapy sessions. The other music was based on ideas from Carlos and Kubrick themselves as well as from the original Burgess novel.

Unlike the official Warner Brothers soundtrack release, this album contains purely Carlos synthesiser music, some of which that was written for but not used in a Clockwork Orange. It is fantastic, and the stereo mix makes it great driving music. But mind you don't end up playing "Devil of the Road!"

A London Labyrinth favourite, 26 Mar 2000
If your curiosity has brought you as far as considering buying this album, there are good reasons to go ahead but be aware of the Warner Brothers 'Clockwork Orange Soundtrack' which I would recommend first. If you have arrived here via the book or the film you may find this music bewildering. If you want a token Carlos album for your collection, Switched On Bach was the biggie and effectively year zero for electronica as a music category in popular culture. Like much of the music here, however, it is kitsch and twee, sometimes interesting, always clever, sometimes unsettling, always soulless. Such shortcomings are very evident on this compilation, stripped as it is of the playful irony afforded by the context of the film or the extraordinary juxtapositions of contrasting sonic assaults featured by Kubrick on the Soundtrack where the classical covers rub shoulders with medieval and Vaudeville numbers, Gene Kelly and far-out Carlos originals. It provided a shocking musical tapestry thirty years ago and still sounds powerful today. The Soundtrack was certainly more than the sum of its parts which cannot be said of this Carlos-only CD. If you know early seventies electro-dilettantes like Rick Wakeman ( Cans And Brahms, Six Wives...), David Bedford (The Ancient Mariner) and even John Barry (The Persuaders), some of the original inspiration can be found here. 'Country Lane' which is absent from the Soundtrack CD had a huge influence on the rash of later synth bands despite its lack of anything resembling a backbeat. I'm sure an enterprising remixer could still make a club hit of it if they ignored the waltz-time opening. The main reason for buying this album, however, is the inclusion of the full-length version of 'Timesteps,' a Carlos original shortened by nearly ten minutes on the Soundtrack. This full version is a fascinating piece in which Carlos manages to keep an eye on fleeting melodies while pushing the envelope with the arrangement to explore the new synthetic palette instead of merely immitating an orchestra. The second to fifth minutes correspond to the abridged version which sounded almost frightening in its originality all those tears ago. I'm afraid I disagree with Carlos, however, when she bemoans the compression and tweaking applied to 'Timesteps (Excerpt)' for the Soundtrack. If you compare the two, the abridged section sounds better mixed and much punchier, especially to modern ears. So, whichever way you approach it, a flawed gem but one which still shines (fairly) undimmed. Buy both.

Prompted me to learn the cello., 09 Sep 2006
I found Apocalyptica by accident while browsing and I'm glad I did, I love this music, the cello sound is wonderful and haunting mixed with the heavy metal. I am over 40 but have started to learn the cello due to hearing this CD alone. I have since bought more Apocalyptica, and although some tracks can sound a bit similar to the untrained ear, I still enjoy them. The tracks with vocals can be a bit heavy, but the instrumentals are great.

Classically beautiful, 27 Oct 2005
Apocalyptica are one of the most original and talented bands to surface in the past 20 years, introducing younger audiences to the power of classical instruments, and providing some much-needed variation in the increasingly samey world of rock and metal.
Their decision to feature German punk legend Nina Hagen on this album was possibly the best they've ever made - her massive cigars-and-brandy voice sounds as if it was made for them. Their breathtaking cover of Rammstein's 1995 classic 'Seemann' is one of the few versions that could better the original, and given the Berlin industrialists' enormous talent, this is no shallow comparison.
Performing live, Apocalyptica are true stars and need no flashy visuals to enhance their presence. They have the rare ability to appeal to a wide range of listeners (including the long-suffering parents of children who like Slipknot!), and can perform cover versions without ever sounding like they're ripping off the original tracks: Eicca Toppinen's arrangements are original, beautiful and faithful to the existing songs, yet still have Apocalyptica's musical fingerprints all over them.
Even if you've never heard of this band, buy an album - you'll wish you'd done it sooner.

Magic in Music, 29 Nov 2004
Well. This is a shock, having listened to their metallica covers amongst their tool and pantera covers i thought id heard most of what these clearly talented musicians had to offer, oh how wrong i was. This album is sheer musical genius, raw yet calm and composed. The distorted chello complementing the clean string sounds, the addition of drums adds a lot to this record. Theyve written a metal classic, i cant recommend it enough. Even if you dont think chellos and metal mix you MUST buy this album.

Musically and technically brilliant, 13 Apr 2007
Despite taking its title from Bach's Well-Tempered Clavier, this album explores a wider range of music than its predecessor, the justly famous Switched On Bach. Here, music by Monteverdi, Handel and Scarlatti sits alongside the Bach piece.

I'd advise anyone wondering whether to buy this album or Switched On Bach to buy this one first. Carlos' technique has advanced since the earlier album, and the result is possibly her most brilliant of the early Moog albums. The sound-colours are simply beautiful, the blending of textures by various means (outlined helpfully on Carlos' `secrets of Synthesis' CD) and the sheer overall musicality of the album make this one of the finest synthesizer albums ever recorded.

Wendy Carlos has been a pioneer of new instruments and techniques throughout her career. Hearing these early Moog albums at the time, many of us thought the Moog modular was some wonder instrument that could do anything. All you had to do was sit down and play it - and some people didn't even realise you had to do that, thinking it somehow played itself. :D The truth is, for all its complexity and power, the Moog modular is a difficult and quite frustrating beast, and especially so in these early days of its development. Work on this music was slow and often tedious, but none of that is apparent when you listen. The music flows naturally and spiritedly.

This isn't a mere `Moog plays the classics' album, a novelty act in reinterpretation. Bach authority Glenn Gould praised this album's Fourth Brandenburg as one of the finest performances he'd ever heard, by anybody. Having listened to performances of the other pieces on this album it's clear to me how much Wendy Carlos brings to the music throughout the range of pieces she performs here. The Scarlatti pieces in particular are fresh and lively, and the Monterverdi works are magnificent. The Handel pieces work well, though I'm less keen on the horn sounds in the first one than I am on the sounds Carlos uses throughout the rest of the album. The qualities of a horn sound need to be toned down a little when using analogue instruments - it takes digital complexity (which wasn't yet available at that time) to make the overall shape of a horn sound work well when synthesized. But that's a small point, especially when considered against the music as a whole.

One thing that comes across very much when Carlos plays classical music is the structure of the pieces. There's a wonderful clarity of line in her performances, and I think it's worth listening to her simply for that - she opens up the form of the music in ways that clarify the intentions of the original composers. Again, that's a technical achievement given the thick quality of the analogue instrument (the `fat' - or `phat' sound that many people praise about Moog instruments). Carlos orchestrates the various sounds skilfully, blending fatter and thinner sounds, harder and softer sounds in just the way any skilled musical arranger would do, and where the music requires clarity, she provides it amply.

I've praised this album very highly, but it deserves that. This is one of my favourite albums ever, both on a musical and a technical level. Wendy Carlos has moved on from here, continuing to push back boundaries and make music that was never possible before. But even if she'd only produced her first two albums, this one and the original Switched On Bach, her status as a musician generally and as a synthesizer player in particular would be assured.

If this review hasn't been helpful, or if you have any other comments you want to make about what I've written, please email me at love.chocolate@virgin.net


What can I say, 24 Oct 2005
My father had a copy of 'Switched on Bach', which found it's way into my collection as an 11 year old. I played it to death and wore it out. I then came across 'The theme to clockwork orange' on an 8 track that was given to me, again I wore it out. Now all these years later I found out that they are avalible again on CD. The Well-tempered synthesizer arrived today. There are certain special bits of music that make the hairs on the back of my neck and arms stand up. This album is full of them. Wendy Carlos is a genius! I will be buying as many of her albums as possible. This enhanced CD also gives you chance to find out more if played on your computer.

The original synth, 25 Jun 2003
Classical, new age, electronic...Hard to classify but easy to listen to, this album combines the greatest baroque composers of the last 400 years with one of the greatest keyboard players of the 20th century. From her early years with Robert Moog, developing the synthesiser to her performances under the name of Walter Carlos, this lady has always pushed the boundaries of brilliance with keyboards and is, probably, the most influential musician of the 20th century. Without Wendy Carlos there would be no electronic music.
If you've seen the movie 'Clockwork Orange' then you've heard Wendy Carlos play and if you heard her play then you'll love this album,. From the bravura of Beethoven to the lace like delicacy of Scarletti the perfomances will give you pleasure for years.

Simply brilliant, 03 Feb 2006
A hybrid of seemingly impossible genres, but they pull it off, and more! This has to be one of the best albums I have ever heard. If you have a dark classical side, or even if you just like metal and have an open mind then this worth buying, just listen to "nothing else matters"...

This band and their work need to be celibrated. Six stars...

Stunning simplicity and complexity, 28 Sep 2005
Apocalyptica have produced a tour de force of emotion and mood with this collection. At times I found that I had to close my eyes and sit back to take in the breadth and depth of what is being served up.

If you want to experience classical instruments played with passion then this cd will give you all that and more.

SO much more than a novelty, 15 May 2004
Firstly I'd like to say, having seen some of the reviews for Apocalyptica's first album, I was appalled. Hearing the unbelievable wealth of sound that these guys get out of their cellos, how could anyone say these sibelius academy graduates are anything but brilliant?

For me, they are best when doing slow and mellow songs, on this album notably 'Nothing Else Matters', 'Fade to Black' and 'One'. Breathtaking.

Of the more traditional thrash covers, 'Domination' deserves a mention, not least because they actually play the solo!!

'From Out of Nowhere' comes across as being a surprisingly deep and wonderful piece of music - a very pleasant surprise.

Of the pieces they have written 'Harmageddon' is my favourite, with some fantastic sounds (using harmonics) in the introduction, then breaks into something powerful (yet at times almost melancholy) that takes full use of the beatifully layered harmonies they can create.

Overall, there is some great music on this album. It is played by four brilliant cellists who can milk the pieces for all they're worth! I'd say a must-have for any thrash or classic metal fan, and a worthwhile purchase for anyone who is intrigued by the prospect of cellists playing heavy metal music.

Beauty from the Beasts, 12 Dec 2000
Introduced to me by my beautiful dutch girlfriend, Apocalyptica have created something even more poignant and simultaneously hard-hitting with their cellos than most bands can do with a 20k rig and everything modern musical technology has to offer. Their masterful hands manage to harness all the power of the songs they cover, adding enough melancholy to 'nothing else matters' to bring a tear, along with a fantastic delicacy and beauty to the pieces they do the honour of covering. Their own pieces are equally impressive.I need six stars to do this album justice. Do yourself a favour-buy it.

Brilliant!, 19 Feb 2000
Four men with cellos prove that classical and "metal" music can exist together. Probably louder and more agressive sounding than the original Metallica & Sepultura songs they cover on this album Apocalyptica are fabulous. But they also include some of their own compositions, so don't dismiss them as just a "cover" band. This album is the most original and fresh sound we've heard in years. If we could give it more "stars" we would.

Early Metal / Classical Crossover ...., 24 May 2008
Predating Metallica's S&M Classical mash-up by 3 years, this is an excellent Chamber Music take on Metallica's pre 1996 catalogue.
Be warned: JUST THE FOUR CELLOS: NO GUITAR/BASS/DRUMS/VOCALS AT ALL!
Fair play though, all the nuances, vocal lines, solos etc are faithfully reproduced through the cello arrangements! It's good stuff, although at times it feels a little sparse.
Standout Track: Sad But True - Really dark, urgent & a cool take on of Hammett's solo!

I'd also recommend the similiar, but fully orchestral, Scorched Earth Orchestra Tribute To Master Of Puppets - It's fantastic (see my review).


Too Hyped Up, 17 Dec 2007
I bought this record after seeing Apocalyptica perform at Eurovision, which I loved.

This record is just poor. It doesn't have any strength due to the lack of drums, and therefore all you get is four very simple cello lines which don't even work very well together.

My wife is a classicaly trained piano player and she actually forbade me from playing this at home, she found it discordant.

I look forward to finding a more recent album with a better production, I actually want to give these guys a chance, but this record was certainly a big disappointment.

Interesting but not great, 09 Oct 2007
I'll start off by saying that I'm not into classical music or anything like that, and this is basically the first cello-heavy album I've heard. So this is new to me, and it's fairly obvious even from the concept that it's going to take a while to get used to. However I've given it four or five listens which is normally enough for me.

Good points straight off - it's a really interesting idea: the solos and some of the interludes (James' solo on 'Master of Puppets' stands out) are obviously classically influenced and it shows here - they sound beautiful on cello. The musicianship, as far as I can tell, is good enough for the songs as I can't pick out any dropped notes or errors. A lot of the aggression is taken out of the songs without vocals, which makes it a bit more relaxing than you'd expect from Metallica songs. Standout tracks are 'The Unforgiven', 'Creeping Death' and 'Welcome Home (Sanitarium)'.

There are, however, a few downsides. For a start, I found the sound of two or three cellos doing staccato root notes simoultaneously a very ugly sound. It sounded clunky, a bit like what you'd expect kicking an acoustic guitar around to sound like. In other words, horrible. I got used to it eventually, but it takes the relaxing edge off the classical instrumentation - surely the whole point of playing the songs on cello is lost here.
Also, a few of the songs just don't sound right on cello. 'Enter Sandman' and 'Sad But True', for example. I'm personally not a fan of the originals so I'm biased, but I noticed the awkward sound most obviously on those tracks.
The final letdown is in 'Master of Puppets', which shows so much promise with a fantastic interlude and first solo, but the shredding solo is not attempted at all. So after building up for Kirk's solo, I was left speechless as the two-cello clunking was all i could hear instead.

'Master of Puppets' summed the album up really: there was so much potential in combining Metallica songs and classical instruments (S&M proved that), and the tenor passages are lovely to listen to. However, whatever you think of Metallica, and classical music for that matter, this doesnt fulfil the potential of either.

'tallica by four cellos..?..., 21 Sep 2005
it is very relaxing, but anyone considering purchasing this, must be able to accept something a little different.
if u havn't already got the S&M album, its definatly worth a look

Intresting, 17 Jun 2005
Before thinking about buying this... Ask Yourself a question... is it possible to play Metallica Covers using only 4 Chellos and a Drum Kit?

You would think its not possible and would not work. Well I saw these guys at Download 05 and caught the live version of Master Of Puppets and a version of Seek And Destroy (Not on this Album)both left me speechless.

So to answer my Question Yes it does work.

This complete electronic score is Carlos' best work., 10 Oct 2007
The album was first released by CBS in 1972, shortly after Warner's official soundtrack album. The electronic-only offering contained two tracks not featured on the soundtrack and the only complete version of "Timesteps". The sound quality was also superior, particularly at the low-end of the audio spectrum.

In 1998 Carlos remastered her electronic score for CD. New to this release are two bonus tracks - charming but slight- that could not be included on the original vinyl release due to space contraints. It all sounds excellent and the CD booklet contains the original liner notes and cover art as well as the story of the remastering and the bonus tracks.

If you cherished the CBS vinyl album, then this CD is an essential purchase.

For those unfamiliar with the soundtrack but who know Carlos' other work or just love electronic music a la Moog, it is an essential listen. I believe this is Carlos' best work, certainly the pinnacle of her collaborations with producer Rachel Elkind (who memorably provided the vocoded singing on "Beethoven's Ninth"). The music combines several original compositions with sophisticated and spirited realisations of "Beethoven's Ninth" Symphony and Rossini's "Thieving Magpie" among others.

The original compositions are the making of this CD. "Timesteps", was inspired by Carlos' reading of the novel "A Clockwork Orange" and consists of a melange of short, atmospheric pieces - melodic, rhythmic, disturbing, surging and ebbing in turn. "Country Lane" is a shorter piece and was composed (but ultimately not used) for the scene in the film where Alex is taken into the country and savagely beaten by his former 'droogs' - now policemen. The music is rhythmic and dramatic and incorporates musical motifs from other scenes in the film. Particularly effective is the mocking, decending motif from "Thieving Magpie" and the creepy use of a vocoded "Singing' in the Rain" over a synth generated thunderstorm as Alex returns to the scene of an earlier crime where retribution awaits him.

Wonderful.

Work Carlos produced for Kubrick that s/he wanted Kubrick to use in the film, 16 May 2006
This is largely the collection of work Carlos produced for Kubrick that s/he wanted Kubrick to use in the film. In the event Kubrick used some whole, some in part, and some orchestrally played originals instead of the synth versions Carlos came up with. I imagine the synth versions were of titles suggested by Kubrick. I have this on LP with artwork of an orange on the cover, bought contemporanesously with the film in the early 70s, though I was too young to see it, it was banned in the UK, and later I forgot about the film, though knew its reputation. Only in recent years have I bought the DVD of the film, magically connecting a 30 year circle nearly fried my brain in a mixture of a classic film, trail blazing musical realisations, and of course a dose of nostalgia (let alone short circuiting time to the tune of 30 years). If you liked the soundtrack, this is more of the same, made at the same time. No wonder it is so satisfying. I cut of the film with all-Carlos soundtrack would be nice.

Truly the Original Synth., 05 Aug 2003
I bought this album when it came out on vinyl, oh so many years ago, and played it until it was worn out. Like another reviewer, I bought the CD version a few years ago only to find that Wendy Carlos' contributions were cut right back and many other contributers took their place.

Buy this version. It is far superior and shows Carlos to be the most innovative electronic musician of the age. When this was recorded synthesisers were mostly if not completely monophonic instruments. Therefore multi-tracking was the name of the game. So much work was done before the advent of the technology that would undoubtedly have made life easier.

Well worth listening to is Carlos' ground breaking "Timesteps". It really would have suited the opening scenes of the film. My personal favourite here is Carlos' own "Country Lane". This is just sublime and does, as the sleeve notes point out, sum up the entire Clockwork Orange movie.

Timesteps may be a little difficult for the uninitiated so initially get into but, stick with it and you'll be well rewarded. Beethoven, Rossini and Purcell are all featured alongside the Carlos compositions. This album contains music that didn't make it onto the film soundtrack and two bonus tracks, Orange Minuet and Biblical Daydreams, are included for those who remember the original vinyl release.

What are you waiting for? This is electronic music at its best.

A Clockwork Orange and more, 22 Oct 2002
Walter Carlos collaborated with Stanley Kubrick on his films for many years. Carlos had become huge with his ground-breaking "Switched on Bach" albums. It was this revolutionary space age synth sound that Kubrick wanted for a Clockwork Orange.

Carlos had already written the atmospheric "Timesteps" (the first track on the album) when Kubrick called him about the film. It became the music for Alex's mind altering therapy sessions. The other music was based on ideas from Carlos and Kubrick themselves as well as from the original Burgess novel.

Unlike the official Warner Brothers soundtrack release, this album contains purely Carlos synthesiser music, some of which that was written for but not used in a Clockwork Orange. It is fantastic, and the stereo mix makes it great driving music. But mind you don't end up playing "Devil of the Road!"

A London Labyrinth favourite, 26 Mar 2000
If your curiosity has brought you as far as considering buying this album, there are good reasons to go ahead but be aware of the Warner Brothers 'Clockwork Orange Soundtrack' which I would recommend first. If you have arrived here via the book or the film you may find this music bewildering. If you want a token Carlos album for your collection, Switched On Bach was the biggie and effectively year zero for electronica as a music category in popular culture. Like much of the music here, however, it is kitsch and twee, sometimes interesting, always clever, sometimes unsettling, always soulless. Such shortcomings are very evident on this compilation, stripped as it is of the playful irony afforded by the context of the film or the extraordinary juxtapositions of contrasting sonic assaults featured by Kubrick on the Soundtrack where the classical covers rub shoulders with medieval and Vaudeville numbers, Gene Kelly and far-out Carlos originals. It provided a shocking musical tapestry thirty years ago and still sounds powerful today. The Soundtrack was certainly more than the sum of its parts which cannot be said of this Carlos-only CD. If you know early seventies electro-dilettantes like Rick Wakeman ( Cans And Brahms, Six Wives...), David Bedford (The Ancient Mariner) and even John Barry (The Persuaders), some of the original inspiration can be found here. 'Country Lane' which is absent from the Soundtrack CD had a huge influence on the rash of later synth bands despite its lack of anything resembling a backbeat. I'm sure an enterprising remixer could still make a club hit of it if they ignored the waltz-time opening. The main reason for buying this album, however, is the inclusion of the full-length version of 'Timesteps,' a Carlos original shortened by nearly ten minutes on the Soundtrack. This full version is a fascinating piece in which Carlos manages to keep an eye on fleeting melodies while pushing the envelope with the arrangement to explore the new synthetic palette instead of merely immitating an orchestra. The second to fifth minutes correspond to the abridged version which sounded almost frightening in its originality all those tears ago. I'm afraid I disagree with Carlos, however, when she bemoans the compression and tweaking applied to 'Timesteps (Excerpt)' for the Soundtrack. If you compare the two, the abridged section sounds better mixed and much punchier, especially to modern ears. So, whichever way you approach it, a flawed gem but one which still shines (fairly) undimmed. Buy both.

Prompted me to learn the cello., 09 Sep 2006
I found Apocalyptica by accident while browsing and I'm glad I did, I love this music, the cello sound is wonderful and haunting mixed with the heavy metal. I am over 40 but have started to learn the cello due to hearing this CD alone. I have since bought more Apocalyptica, and although some tracks can sound a bit similar to the untrained ear, I still enjoy them. The tracks with vocals can be a bit heavy, but the instrumentals are great.

Classically beautiful, 27 Oct 2005
Apocalyptica are one of the most original and talented bands to surface in the past 20 years, introducing younger audiences to the power of classical instruments, and providing some much-needed variation in the increasingly samey world of rock and metal.
Their decision to feature German punk legend Nina Hagen on this album was possibly the best they've ever made - her massive cigars-and-brandy voice sounds as if it was made for them. Their breathtaking cover of Rammstein's 1995 classic 'Seemann' is one of the few versions that could better the original, and given the Berlin industrialists' enormous talent, this is no shallow comparison.
Performing live, Apocalyptica are true stars and need no flashy visuals to enhance their presence. They have the rare ability to appeal to a wide range of listeners (including the long-suffering parents of children who like Slipknot!), and can perform cover versions without ever sounding like they're ripping off the original tracks: Eicca Toppinen's arrangements are original, beautiful and faithful to the existing songs, yet still have Apocalyptica's musical fingerprints all over them.
Even if you've never heard of this band, buy an album - you'll wish you'd done it sooner.

Magic in Music, 29 Nov 2004
Well. This is a shock, having listened to their metallica covers amongst their tool and pantera covers i thought id heard most of what these clearly talented musicians had to offer, oh how wrong i was. This album is sheer musical genius, raw yet calm and composed. The distorted chello complementing the clean string sounds, the addition of drums adds a lot to this record. Theyve written a metal classic, i cant recommend it enough. Even if you dont think chellos and metal mix you MUST buy this album.

Musically and technically brilliant, 13 Apr 2007
Despite taking its title from Bach's Well-Tempered Clavier, this album explores a wider range of music than its predecessor, the justly famous Switched On Bach. Here, music by Monteverdi, Handel and Scarlatti sits alongside the Bach piece.

I'd advise anyone wondering whether to buy this album or Switched On Bach to buy this one first. Carlos' technique has advanced since the earlier album, and the result is possibly her most brilliant of the early Moog albums. The sound-colours are simply beautiful, the blending of textures by various means (outlined helpfully on Carlos' `secrets of Synthesis' CD) and the sheer overall musicality of the album make this one of the finest synthesizer albums ever recorded.

Wendy Carlos has been a pioneer of new instruments and techniques throughout her career. Hearing these early Moog albums at the time, many of us thought the Moog modular was some wonder instrument that could do anything. All you had to do was sit down and play it - and some people didn't even realise you had to do that, thinking it somehow played itself. :D The truth is, for all its complexity and power, the Moog modular is a difficult and quite frustrating beast, and especially so in these early days of its development. Work on this music was slow and often tedious, but none of that is apparent when you listen. The music flows naturally and spiritedly.

This isn't a mere `Moog plays the classics' album, a novelty act in reinterpretation. Bach authority Glenn Gould praised this album's Fourth Brandenburg as one of the finest performances he'd ever heard, by anybody. Having listened to performances of the other pieces on this album it's clear to me how much Wendy Carlos brings to the music throughout the range of pieces she performs here. The Scarlatti pieces in particular are fresh and lively, and the Monterverdi works are magnificent. The Handel pieces work well, though I'm less keen on the horn sounds in the first one than I am on the sounds Carlos uses throughout the rest of the album. The qualities of a horn sound need to be toned down a little when using analogue instruments - it takes digital complexity (which wasn't yet available at that time) to make the overall shape of a horn sound work well when synthesized. But that's a small point, especially when considered against the music as a whole.

One thing that comes across very much when Carlos plays classical music is the structure of the pieces. There's a wonderful clarity of line in her performances, and I think it's worth listening to her simply for that - she opens up the form of the music in ways that clarify the intentions of the original composers. Again, that's a technical achievement given the thick quality of the analogue instrument (the `fat' - or `phat' sound that many people praise about Moog instruments). Carlos orchestrates the various sounds skilfully, blending fatter and thinner sounds, harder and softer sounds in just the way any skilled musical arranger would do, and where the music requires clarity, she provides it amply.

I've praised this album very highly, but it deserves that. This is one of my favourite albums ever, both on a musical and a technical level. Wendy Carlos has moved on from here, continuing to push back boundaries and make music that was never possible before. But even if she'd only produced her first two albums, this one and the original Switched On Bach, her status as a musician generally and as a synthesizer player in particular would be assured.

If this review hasn't been helpful, or if you have any other comments you want to make about what I've written, please email me at love.chocolate@virgin.net


What can I say, 24 Oct 2005
My father had a copy of 'Switched on Bach', which found it's way into my collection as an 11 year old. I played it to death and wore it out. I then came across 'The theme to clockwork orange' on an 8 track that was given to me, again I wore it out. Now all these years later I found out that they are avalible again on CD. The Well-tempered synthesizer arrived today. There are certain special bits of music that make the hairs on the back of my neck and arms stand up. This album is full of them. Wendy Carlos is a genius! I will be buying as many of her albums as possible. This enhanced CD also gives you chance to find out more if played on your computer.

The original synth, 25 Jun 2003
Classical, new age, electronic...Hard to classify but easy to listen to, this album combines the greatest baroque composers of the last 400 years with one of the greatest keyboard players of the 20th century. From her early years with Robert Moog, developing the synthesiser to her performances under the name of Walter Carlos, this lady has always pushed the boundaries of brilliance with keyboards and is, probably, the most influential musician of the 20th century. Without Wendy Carlos there would be no electronic music.
If you've seen the movie 'Clockwork Orange' then you've heard Wendy Carlos play and if you heard her play then you'll love this album,. From the bravura of Beethoven to the lace like delicacy of Scarletti the perfomances will give you pleasure for years.

Amazing album, 08 May 2001
Proving once again that you don't need loud guitars to make heavy music, apocalyptica further steamroll over the theory that they are another covers band. The quality of writing (and indeed playing) puts a lot of other artists, classical and heavy, to shame. I never thought a cello could sound outright nasty, but "struggle" has to be heard to be believed. Whatever type of music you like, buy this without reservation - there is something on this album for everybody.

Perfect, 20 Dec 2000
This album is the best compared wirh previous albums. To my mind Apocalyptica is a good starting point to become a metal-lover. The fact is that your relatives, who don't like heavy metal, will surely like Apocalyptica. And so will you, because it is a REAL HEAVY METAL, simply played by for cellos! It's PERFECT!

Before there was ambient music, in a time before the New Age, there was Wendy Carlos's Sonic Seasonings, a double LP released in 1972. Taking the form of Antonio Vivaldi's The Four Seasons, Carlos orchestrated four side-long soundscapes designed, according to producer Rachel Elkind, to be "part of the decor." Using only her Moog synthesizer and environmental sounds, Carlos created prototypical ambient music, predating Brian Eno's similar work by a few years. Carlos weaves gentle, often reedy synthesizer melodies through chirping birds on "Spring," phase-shifted church organ drones across crystalline bells and wind on "Winter," and she seems to simulate an alien space landing on "Summer," mimicking nature with her synthesizer. An added treat on this special double CD is a 40-minute, unreleased, two-part suite from 1986 called "Land of the Midnight Sun." Using her Synergy synthesizers, Carlos orchestrates slow-motion melodies and overlapping minimalist layers that recall Steve Roach's "Structures from Silence." Sonic Seasonings is the first wave of a batch of Wendy Carlos reissues. While many of Carlos's classical, "Switched-On" orchestrations have an antique, dated charm, this original composition sounds fresh and current. In attempting a music that wouldn't draw attention to itself, Carlos achieved a prescient work of subtlety and depth on Sonic Seasonings. --John Diliberto

Simply brilliant, 03 Feb 2006
A hybrid of seemingly impossible genres, but they pull it off, and more! This has to be one of the best albums I have ever heard. If you have a dark classical side, or even if you just like metal and have an open mind then this worth buying, just listen to "nothing else matters"...

This band and their work need to be celibrated. Six stars...

Stunning simplicity and complexity, 28 Sep 2005
Apocalyptica have produced a tour de force of emotion and mood with this collection. At times I found that I had to close my eyes and sit back to take in the breadth and depth of what is being served up.

If you want to experience classical instruments played with passion then this cd will give you all that and more.

SO much more than a novelty, 15 May 2004
Firstly I'd like to say, having seen some of the reviews for Apocalyptica's first album, I was appalled. Hearing the unbelievable wealth of sound that these guys get out of their cellos, how could anyone say these sibelius academy graduates are anything but brilliant?

For me, they are best when doing slow and mellow songs, on this album notably 'Nothing Else Matters', 'Fade to Black' and 'One'. Breathtaking.

Of the more traditional thrash covers, 'Domination' deserves a mention, not least because they actually play the solo!!

'From Out of Nowhere' comes across as being a surprisingly deep and wonderful piece of music - a very pleasant surprise.

Of the pieces they have written 'Harmageddon' is my favourite, with some fantastic sounds (using harmonics) in the introduction, then breaks into something powerful (yet at times almost melancholy) that takes full use of the beatifully layered harmonies they can create.

Overall, there is some great music on this album. It is played by four brilliant cellists who can milk the pieces for all they're worth! I'd say a must-have for any thrash or classic metal fan, and a worthwhile purchase for anyone who is intrigued by the prospect of cellists playing heavy metal music.

Beauty from the Beasts, 12 Dec 2000
Introduced to me by my beautiful dutch girlfriend, Apocalyptica have created something even more poignant and simultaneously hard-hitting with their cellos than most bands can do with a 20k rig and everything modern musical technology has to offer. Their masterful