DATE: Thursday, April 24, 1997              TAG: 9704230042
SECTION: DAILY BREAK             PAGE: E3   EDITION: FINAL 

TYPE: Record Review 

                                            LENGTH:   76 lines

SHORTCUTS

Apocalyptica, ``Plays Metallica by Four Cellos'' (Mercury)

Besides their instrument, this black-clad, shades-sporting quartet - students at the prestigious Sibelius Academy in Helsinki, Finland - share another love. Bingo! If you think classical musicians can't rock, try to resist pumping your fist to ``Enter Sandman,'' ``Master of Puppets'' or ``The Unforgiven.'' The dark, percussive qualities of the cello more than fit Metallica's music. Apocalyptica is no novelty act.

Craig Shapiro, The Pilot

5 Chinese Brothers, ``Let's Kill Saturday Night'' (Prime Records)

The second national release from the New York quartet (they're not Chinese or brothers, either), sports wonderful, melodic songs full of humor, emotion and irony. The performances are first rate, too, with spirited vocal work bouyed by the group's joyous instrumental prowess. The pristine sound would make Gram Parsons smile from hillbilly heaven.

Eric Feber, The Pilot

Regina Regina, ``Regina, Regina'' (Giant)

Regina Leigh, a former Reba background singer, and Regina Nicks, a former Reba personal assistant, have more than their names in common: They have excellent harmonies and good songs. ``She'll Let That Telephone Ring'' should ring up healthy sales. A worthwhile debut.

Frank Roberts, The Pilot

Various artists, ``A Tribute to Oscar Peterson'' (Telarc Jazz)

Despite the impressive cast (Benny Green, Milt Jackson, Roy Hargrove, Clark Terry, The Manhattan Transfer), this concert recording is occasionally marred by lack of chemistry, poor miking and out-of-tune instruments. Yet, there are treasures: Shirley Horn's hornlike vocals on ``I Can't Face the Music,'' Stanley Turrentine's swinging sax on ``In a Mellow Tone'' and Peterson's cagey piano comping on ``Bags' Groove.''

David Simpson, The Pilot

Spahn Ranch, ``Architecture'' (Cleopatra Records)

On ``Architechture,'' these experimental industrialists delve into the song construction business, erecting a dance structure that is multi-dimentional. The sturdy foundation is apparent in such towering works as the Bauhaus-styled ``Monochrome'' and in their best overall creation, ``Embodied.'' Fantastic.

Jeff Maisey, The Pilot

Tuatara, ``Breaking the Ethers'' (Epic)

Take members of Screaming Trees (Barrett Martin) and R.E.M. (Peter Buck), add a bassist and saxophonist, and you get angsty grunge and waves of feedback, right? No. ``Ethers'' is a magical instrumental recording that breathes and writhes with jazz restlessness, ambient touches, World Beat, movie soundtrack effects and splendid ensemble playing.

E.F.

Depeche Mode, ``Ultra'' (Mute/Reprise)

``It's No Good'' is classic Depeche Mode, containing a dreamy vocal melody on the verse that gets predictable during the chorus; one great keyboard score bridges the two. That's the good news. ``Useless'' goes without saying. Most of the songs are half-witted easy-listening tunes with dull vocals. Forgettable and disappointing.

J.M.

John & Audrey Wiggins, ``The Dream'' (Mercury)

``The Dream'' is not exactly that; there's a bit too much Nashville routine. But when the Wiggins siblings break routine, they show much imagination. The title song is the highlight. It begins with Ernest Tubb introducing their Dad at a 1962 concert. We hear a few verses from him, then the kids hop in.

F.R. ILLUSTRATION: J. NUMMELIN/Mercury Records

Apocalyptica, 4 classical musicians from Finland, prove cellos can

rock to Metallica's music.

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