Crematory | Destination | RPM/ROAR

 

 Crematory formed in Germany in 1991 and became one of the first bands to fuse death metal with gothic atmospheres and industrial elements. Across more than three decades, they have remained a fixture in the European metal scene, steadily releasing albums that incorporate deep growls, keyboard-driven arrangements, electronic beats, and clean vocals. Early albums like “Transmigration” and “Just Dreaming” marked their death-doom foundations, while mid-era releases such as “Illusions” and “Act Seven” shifted toward more gothic and industrial leanings. Over time, the band became known for blending romantic darkness with rhythmic accessibility. Despite lineup changes, core members like Gerhard Stass (vocals) and Markus Jüllich (drums/programming) have remained central to Crematory's identity.

 “Destination,” the seventeenth studio release from Crematory, consolidates the different stylistic directions the band has taken over the years. There is a clear mixture of dense, guitar-driven sequences, deep, growled verses, and synthetic textures that push the sound toward a hybrid of metal and industrial pop. The album opens with “Destination,” which introduces thick guitar riffing alongside spacious keys and rhythmic sequences. The combination of German and English lyrics across the tracklist remains a staple of Crematory’s sound, adding a dual-layered character to their approach.

Songs like “The Future Is A Lonely Place” and “After Isolation” maintain a dark, club-like pulse that reflects the band’s industrial leanings, with programmed beats and synthetic loops interlacing the heavier sections. Meanwhile, “Welt Aus Glas” and “Das Letzte Ticket” bring back the German-language melancholy that’s been a consistent feature of their catalog. The band seems to rely heavily on atmospheric layering—almost every track contains a blend of distorted guitars and orchestral or ambient textures, giving the material a theatrical backdrop.

One of the more curious inclusions is the cover of Type O Negative’s “My Girlfriend’s Girlfriend,” featuring guest vocals by Michelle Darkness. Rather than attempting a direct replica of the original, Crematory reinterprets it through their own mechanical and gothic lens. It becomes a synth-heavy, mid-tempo piece, contrasting playful lyrics with a colder, more electronic delivery.

“My Own Private God,” “Deep In The Silence,” and “Ashes Of Despair” are examples of the album’s persistent mood, staying within a melodic and electronically enhanced framework. Growled vocals alternate with spoken and clean-sung passages, often overlapping rather than separated by distinct sections. Crematory leans into these blended vocal arrangements across the album, giving most tracks a layered vocal dynamic that continues throughout.

The production is uniform across the album, with each instrument and digital element sitting in a balanced mix. There’s a consistent rhythm to the track order, with little in the way of drastic tempo shifts or detours. The album closes on “Das Letzte Ticket,” a darkly theatrical piece that brings the work to an atmospheric end rather than a climax.

“Destination” presents Crematory as they are in 2025: rhythmically modern, theatrically gothic, and electronically enhanced. The band maintains their established formula without falling into monotony, offering songs that sit well within their discography’s expansive mood range.

Score: 7.2