APOCALYPTICA

APOCALYPTICA discography with album pages, track lists, Spotify players, music videos and English liner notes on METAL BOOST.

English Discography Overview

This English discography hub highlights APOCALYPTICA albums such as Plays Metallica Vol. 2, Cell-0, Shadowmaker. The album notes emphasize these records' riffs, vocals, production character, songwriting flow and listening context: This follow-up revisits the spirit of Apocalyptica’s debut, Plays Metallica by Four Cellos, through the sound and experience of the band today. Cell-0 places the sound of the cello itself at the center, with Apocalyptica working without a featured vocalist. Shadowmaker binds Apocalyptica’s signature cello sound tightly to heavy-rock riffs and dark vocals.

Albums

Plays Metallica Vol. 2 CD
/

This follow-up revisits the spirit of Apocalyptica’s debut, Plays Metallica by Four Cellos, through the sound and experience of the band today.

Cell-0 CD
/

Cell-0 places the sound of the cello itself at the center, with Apocalyptica working without a featured vocalist.

Shadowmaker CD
/

Shadowmaker binds Apocalyptica’s signature cello sound tightly to heavy-rock riffs and dark vocals.

7th Symphony CD
/

7th Symphony joins Apocalyptica’s weighty cello sound to metal riffing while making room for guest vocals and electronic color.

Worlds Collide CD
/

Worlds Collide connects the low resonance of cello to metal’s riff-driven force through more open songwriting.

Apocalyptica CD
/

Apocalyptica joins the low resonance of cellos to heavy riffs and live-band momentum.

Reflections CD
/

Reflections places the cello at the center of both riff and melody, combining its resonance with heavy rhythm and classical tension.

Cult CD
/

Cult expands Apocalyptica’s cello-led heaviness through more varied and ambitious writing.

Inquisition Symphony CD
/

Inquisition Symphony uses the low end and sharp attack of cellos to translate metal riffs into a different kind of sound.

Plays Metallica by Four Cellos CD
/

Plays Metallica by Four Cellos proves how naturally the weight of metal riffs can meet the force of low-register cello.