Apocalyptica

"If you are interested in the 'progressive' varieties of Finnish popular music and do not read Finnish, this is the book for you."

Curbing the climate crisis will require urgent action everywhere, including the music business. But how difficult is it to translate words into deeds for someone whose entire career is based on touring, which carries a massive carbon footprint?

Crossover has been like a red rag to a bull for many a serious-minded contemporary music buff. Nevertheless, the crossover products of the present decade speak of a respect for difference, and of the multidimensional aspect of both the present day and ourselves.

For many an outside observer, metal music seems to be an integral part of Finnishness, representing and reflecting national identity. But how did metal become so prominent in the Finnish music scene? And will the prominence last?

The pop-music Finland of 2004 is no longer just “the land of a thousand sad and sorry songs”, as the classic Eppu Normaali quipped some twenty years ago. The former backwoods have become a baking oven for every conceivable subgenre of popular music, turning out appetizing fare to suit all tastes, from fancies for the cake-shop window to savoury nibbles for the basement bash.

Playing it safe and following others was never an option for Eicca Toppinen. When faced with a career crossroads before reaching his twenties, he chose the unknown. And the unlikely international metal success story Apocalyptica was born.

Heavy metal is nowadays divided into an endlessly growing number of subgenres. But how do they relate to the musical features of heavy metal music? And is there anything originally Finnish?

"Apart from the three cellists, Perez and drummer Mikko Sirén, the hidden hero of the album is producer Nick Raskulinecz, who has made Apocalyptica sound punchier and more colourful than ever before."