Apocalyptica

Gates of Manala
Rage of Poseidon

Biography
I have jumbled from genres of music in my life and one of the
bands that seemed to bridge two of my favorite genres of
classical and metal music together is a band named
Apocalyptica. Apocalyptica is a four member cello band or
quartet with a drummer (even though some other
instruments are often used) that plays orchestra type music in
a metal music fashion. The members of the band are all
Finnish; the three cellists Eicca Toppenin, born August 5th
1975, Paavo Ltjnen, born July 29th 1968, and Perttu
Kivilaakso, born May 11th 1978, whom are all graduates of a
music academy located in Helsinki named the Sibelius
Academy. The drummer is Mikko Sirn, born January 1st
1975, who also sometimes plays the double bass.

The band began in 1993 and has changed members only a few times in
their 21+ years. The original band was made up of Toppinen, Ltjnen,
Antero Manninen and Max Lilja. Manninen and Lilja played until 1999
and 2002 respectively, with Manninen being a live member 2002-2009.
The quartet band first found some success in 1996 by releasing their
debut album, Plays Metallica by Four Cellos which was a composition
of eight Metallica songs arranged on cellos. This first album gave the
band a lot more requests for live shows than they had expected. After
this success, the band according to Toppinen almost would have
broken up after three albums due to their label desiring them to only
produce albums that are metal covers to popular music such as
Metallicas, which according to Toppinen would have been too
repetitive. The quartet pushed to be able to make some of their own
material to give their band something unique. Luckily their contract
expired with their label and they produced their third album, Cult,
which only had three covers, the rest being written by the band
(mainly by Toppinen.) (Apocalyptica Web Bio)

Apocalyptica has since released a total of 7 albums, and one live

album. Their full album sets are; Plays Metallica by Four Cellos (1996),
Inquisition Symphony (1998), Cult (2000), Reflections (2003),
Apocalyptica (2005), Worlds Collide (2007), 7th Symphony (2010) and a
live album named Wagner Reloaded Live in Leipzig (2013) which was
created in celebration of Richard Wagners 200th birthday.
(Apocalyptica Web Site)
(http://www.apocalyptica.com/albums/wagner-reloaded-live-inleipzig/) Apocalyptica also has many single albums listed on their
website, many of which are collaborations (not covers, completely new
songs) with known singers. Some of the guest singers on Worlds
Collide were Corey Taylor from Slipknot and Stone Sour, Christina
Scabbia from Lacuna Coil, Till Lindemann from German band
Rammstein, and Three Days Grace lead singer Adam Gontier.
(Apocalyptica Web Bio) The band has also posted a twitter update on
November 12th 2014 claiming that they will have a new album coming
out named Shadowmaker.

Composition History
Due to covering a whole band instead of a single composer or
songwriter I am going to choose compositions that were created by all
of the current band members, Eicca Toppenin, Paavo Ltjnen, Perttu
Kivilaakso and Mikko Sirn. Also to hold true to Apocalyptica I am only
going to choose songs that do not feature a collaborative guest singer
and are not a cover of a previously created song. I have chosen to
review At the Gates of Manala and Rage of Poseidon which are the
beginning and ending songs of the album 7th Symphony. Both of these
songs meet my previous criteria. The album was produced by Joe
Barresi (Tool, Chevelle, Queens of the Stone Age, Coheed and Cambria)
and Howard Benson (My Chemical Romance, The All American Rejects,
Bon Jovi, many more). Outside of the United States their label for this
album was Sony Music Germany/Columbia and Jive for the United
States.

The first song, At the Gates of Manala, is actually a song about

Finnish mythology. Manala is considered to be a place known as the realm
of the dead ruled by the goddess Louhi and can be reached by crossing a
fiery stream known as the river of death. This is possibly similar to the
Greek underworld ruled by Hades and the river Styx. The song gives some
indication of what an American may derive to arriving at the gates of hell,
as the song begins with a fairly hard almost scary intro and becomes more
forlorn as the song progresses.

The second song, Rage of Poseidon, has a somewhat similar feel to

the first song. Again it has origins in mythology, this time of the Greek god
Poseidon whom rules the ocean. The feel of the song could be akin to
being on a large ship and experiencing turbulent waters and fear while at
sea. This goes along great with the name of the song and knowledge of
Greek mythology as the story of The Odyssey which follows Odysseus on
his long trip home from war, and problems at sea due to Poseidon which
Odysseus had scorned.

Listening Guide- Gates of Manala

Intro
0:00-0:06: At this point all is heard is a bow somewhat quietly screeching on the strings, giving an apprehensive feel to the
beginning of the song.
0:06-0:31: The intro of the song comes pretty hard with all cellos and hard drums coming into play. This intro is repeated 5
times total and has a close sound to the A variation.
Verses/Variations
0:31-0:50: (A) The intro easily transitions into a form of verses. The verses are all similar, but an element is added, changed, or
removed giving variations of two different verses, ABABAB etc. format. The biggest difference between each is as the song
progresses, a lower tune Is used for the melody. The rhythm is more distinct, a melody played in the background on all the A
variations. Throughout all A/B variations the timbre keeps a fairly dark feeling, almost if you were running from something in
the darkness.
0:50-1:13: (B) There is a steady rhythm being played, with a cello being played at a higher octave that almost sounds like a
guitar solo.
1:13-1:33: (A) An octave appears to have been dropped for this variation.
1:33-1:45: (B) Follows the lower octave of A, but with Bs theme. Even the solo cello is playing at a lower octave.
1:45-2:04: (A) This is even lower, possibly played on a double bass.
2:04-2:22: (B) The song returns an octave higher, similar to B
2:22-2:42: (A) Variation A as on 1:13 is repeated.
Transition
2:42-4:33: Quick short strokes on the strings and heavy drums enter on a new tune that does not match the previous AB
melody/rhythm. The sound is very dissonant, and becomes more and more through this phase.
4:33-5:40: A completely new feeling is entered into the song. Percussion is still present, but is toned down to some light
symbols and Pizzicato is being played on a cello in the background. The tune itself has turned much more mellow, but also gives
a feeling of loneliness.
Outro
5:40-7:03: Drums come back in to a still somber feeling. The drums are still subdued as the song winds down with the same
melody that was present at 4:33. At 6:45 it changes slightly with some notes an octave higher, then fading to light symbol taps
to end the song.

Listening Guide Rage of Poseidon

Intro
0:00-0:37: Very fast pizzicato playing a muted reoccurring rhythm is playing along with a repeating melody. There are also
sounds of splashing water. A feeling of the sea is given, maybe of unknown pursuit in the water.
Verses
0:37-1:00: (A) The intro sounds all stop, drums and cellos enter in with a fast tune. Medium to low pitch is being played in the
rhythm, with a slightly higher pitched cello playing a melody. The verses appear to match phases of A & B, with only some
variations.
1:00-1:34: (B) The song abruptly slows. Some sounds heard in the intro return, which gives the feeling of being at sea again. The
pitch is slightly lower, and the tempo speeds up towards the end to go back to A.
1:34-1:56: (A) Repeat of 0:37-1:00
1:56-2:22: (B) Repeat of 1:00-1:34, at 2:10 the song starts speeding up, especially around the 2:10 mark which helps transition
into the next A phase.
2:22-2:53: (A) Faster repeat of 0:37-1:00, towards the end it speeds up further giving a feeling of chasing/running.
2:53-3:25: The feeling of the song changes. There is less music than more just dissonant noises being heard, a drum is playing at
the beat of the dissonant noise. Cello play may be the source of the dissonant sound, but there is not necessarily a melody. The
tempo speeds up halfway through the phase.
3:25-4:25: Cello comes back in with the faster dissonant sounds. The cello is playing at a melody medium pitch, and is more
somber and slower sound than before with notes being held for a long time. The tempo gradually increases throughout.
4:25-4:59: A very fast rhythm cello enters with a lot of background noise. At 4:33 a melody/solo cello enters with a higher pitch,
also playing very quickly.
4:59-5:52: Rhythm cello and melody cello keep playing, but the sound becomes more dissonant, giving a feeling of desperation.
At 5:40 it very slowly transitions to a slower tempo.
5:52-6:20: At 5:52 the slower tempo makes a jump to slowing down very quickly. The same tune and pitch is being played, at
about 6:10 a note is being held and it feels as if the tempo is almost stopped. You can hear a voice in the background that
sounds like its saying Poseidon. You get a feeling of being caught, and of giving in.
Outro
6:20-6:52: Drums and cello both pick up playing a slower version of the A form.
6:52-8:39: Drums completely stop playing. There is only one cello left playing at 7:13 and gradually gets quieter. There is a
sound that may be that of underwater bubbles, and the quieter sound of the last cello playing sounds like it is getting farther
away, as if you were being pulled further down under water.

Works Sited
Apocalyptica Web Bio. (n.d.). Bio. Retrieved December
11, 2014, from http://www.apocalyptica.com:
http://www.apocalyptica.com/en/band/bio/
Apocalyptica Web Site. (n.d.). discography. Retrieved
December 11, 2014, from www.apocalyptica.com:
http://www.apocalyptica.com/en/band/discography/
http://www.apocalyptica.com/albums/wagnerreloaded-live-in-leipzig/. (n.d.). Wagner-Reloaded-LiveIn-Leipzig. Retrieved December 11, 2014, from
www.apocalyptica.com:
http://www.apocalyptica.com/albums/wagnerreloaded-live-in-leipzig/