From Mozart's "Paris Symphony" till APOCALYPTICA's "7^th Symphony" (the seventh and most recent studio album of the Finnish cello trio) have been passed almost more than two centuries but still, if you look closer you are gonna find similarities or same points of view between these two interactive music artists/ acts, especially if you consider yourself as a lover of the good and classical/ chamber music. Nah, the truth is that APOCALYPTICA in this album have nothing to do with the classical or theatrical themes of the early years' albums, or even the drippy last two ones. "7^th Symphony" could be characterized as the most mature work of the cellist group (and the darkest, too), gathering all the good Metal elements and the well-played ideas, we have introduced to us with.

Furthermore, we meet the routine collaborations as in the recent past, only here have a real reason of existence, making the whole record more solid and strong-united. We can meet guests like Gavin Rossdale (BUSH), Brent Smith (SHINEDOWN), Lacey Mosley (FLYLEAF) and Joe Duplantier (GOJIRA) on vocals, as the fulgent addition of Dave Lombardo (SLAYER) on drums in "2010" (the symphonic 'alter ego' of "Seasons In The Abyss" I might say), taking also part in the writing of the songs. Thankfully though, the album is not based on its guests' appearances; compositions like the opening "At The Gates Of Manala" or "On The Rooftop With Quasimodo" give us the main mark of the album and spread its darkness and wrath that the three cellists put inside by soul.

It's not all about anger and burst though; the melancholic moments of "Beautiful" and "Sacra" are quite emotional and strong, reminding the golden era of my favorite "Cult" album, just right when APOCALYPTICA decided to be wean and cut the umbilical cord by the whole covering-bands-thing. In these two compositions you can find all the sensitivity of the past "Romance" or "In Memoriam" and you manage to travel in the depths of the music absolution APOCALYPTICA became beloved with. The production is so perfect that brings tears of joy in my eyes and the musicality of the three cellos seems to dance on a female body, like the cover's artwork successfully demonstrates. "Rage Of Poseidon" last but not least, comes to end this album and the strings take bones and flesh and become our worst nightmares. The dynamics of the tone levels is so tough and well-composed and we might talk about APOCALYPTICA's best and more dramatic composition so far. Push the 'play' button and repeat for a couple of times and you're gonna realize instantly what I'm talking about.

Take an amp to a cello and write music for metalheads could be rated as scenario for a 'sci-fi' movie or something. APOCALYPTICA maybe doing this for more than 17 years, but this time are doing it for good. No drama, no catchy songs, no useless additions; only the cellos, their fingers and some dark inspiration. The night is rigid and the moon is full. I don't think that you have many margins of escape.