Daily Staff Writer

Metallica By Four Cellos

Apocalyptica

MTV announces at the turn of the year that it’s going to focus on the new genres of electrical music. Just as expected, musicians such as Ashley MacIssac and now Apocalyptica come back right at them with a huge “I don’t think so.”

Apocalyptica, like MacIssac, is leading a resurgence in stringed instruments that seems to be flirting nicely with alternative listeners.

On Metallica By Four Cellos, four young cellists with a common love for Metallica have recorded covers of seven heavy metal classics using nothing but classic instruments — cellos to be exact.

One listen to Apocalyptica will probably draw a few laughs, similar to listening to a Weird Al parody, but by the third or fourth spin it will hit you that it’s not joke. In fact, Metallica will start to sound pretty good on cellos.

The self-titled or Black album covers are definitely the strong points on the disc. “Enter Sandman” and “Sad But True” have an innovative draw to them that makes it hard not to get up and jump around.

“Wherever I May Roam” and “The Unforgiven” on the other hand, seem like they are almost written for cellos, as the instrumental introductions sound better as cello covers than originals.

As students at the prestigious Sibelius Academy in Helsinki, Finland, the cellists have found time during their studies to tour with The Sex Pistols, Bad Religion and Sepultura. And after signing with Mercury records, Apocalyptica is likely to become a mainstay leader in the comeback of the cello.

3 1/2 stars

— Corey Moss

Come In And Burn

Rollins Band

Henry Rollins is a man’s man. His band has taken its sound to new heights with its latest release Come In and Burn.

From the very first track, “Shame,” singer Henry Rollins brings you the straightforward scream-your-ass-off style fans have come to love. But this time, the “band” in Rollins Band makes a statement just as loud.

The pulsating rhythms of drummer Sim Cain combined with the driven bass sounds of Melvin Gibbs and the gut wrenching guitar work of Chris Haskett are sure to give you a definite case of mental whiplash.

Come In and Burn has a perfect match of music and lyrical content. Such tracks as “All I Want” and “The End Of Something” have little need for vocals to tell the story.

Throw in the staggering style of Rollins and the songs ring with an element honesty only he can deliver.

There isn’t one single track on this disc worthy of criticism. The long-awaited release was well worth it. If you liked Weight, the band’s last record, then Come In and Burn is a must for your collection.

5 stars

— Chad Calek

Black Canary

Crosby Tyler

Crosby Tyler is an exemplary musician who is capable of taking the classic blues sound usually attributed to such masters as Muddy Waters and B.B. King and mixing it with jazz sounds complimentary of Miles Davis and Louis Armstrong.

This unique combination blends perfectly to create a fresh new blues sound that doesn’t diverge too far from its roots.

Black Canary, Tyler’s phenomenal debut CD, is recorded entirely live, which is important because it shows exactly how great of a musician Tyler is.

Tyler’s vocal ability is demonstrated on songs like “Be Still Woman” and “Satan’s In My Sleep.” “Be Still Woman” is especially noteworthy due to its haunting guitar riffs and fairly quick pace.

“Rocking Her World” and “Beef Bones In My Wagon” show the rhythm guitar prowess of Tyler. Some of his riffs are almost reminiscent of Eric Clapton (especially his work on From The Cradle) and B.B. King.

“Black Canary” is a slow blues song laced with a B-3 hammond while “Love Is A Lonely Game” shows what happens when rock-and-roll is mixed with classic blues. Imagine James Brown meeting Sonny Boy Williamson.

4 stars

— Ben Jones

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All ratings are based on a scale of zero to five stars, with five being Ozzfest and zero being DotFest.