In course of their career, the Finnish devil’s violinists developed to a ripe and matured group. Once smiled at as exotics it is an honor nowadays for singers like Corey Taylor or Till Lindemann to collaborate with these capable exceptional artists. Yet exactly this point holds danger in my opinion: the exceeding use of guest musicians, Through this instant, the kernel of the thing, the cello playing itself, is pressed in the background and sacrificed for the benefit of single hits as figurehead.
I’m Not Jesus (also included on the beforehand appeared Maxi together with 3 other songs & a video) sounds too much trimmed on hit parade. The purely acoustic pieces like the sad, almost heartbreaking Burn, the powerful and because of virtuosity sheer exploding Last Hope or the quietly beginning and then quickly pounding Worlds Collide please me much better. In this case, the change of perceptive melody arches and entraining intensity succeeds perfectly. A plucked enclosure disperses and appraises this composition in addition. In Grace, the gentlemen fall back on harder structures, but the melody does not suffer because of this handling. The mentioned I’m Not Jesus has got commercial potential, just as Helden, a Germanized version of the David Bowie classic. In this track, Till Lindemann cannot convince with his vocal performance. Only Christina Scabbia (Lacuna Coil) touches my soul with her guest appearance in S.O.S. (Anything But Love) possessing a beautiful chorus.
For sure I prefer the pieces dominated purely by the cellos - that’s simply APOCALYPTICA in its original form! Who needs vocals if world class cellists can brick up my ears and affect my heart and soul? Nobody I guess – therefore I’d wish less voices and more pristine feelings!