vote
5.5
- Band:
Cremator - Duration: 00:52:26
- Available since: 02/05/2025
- Label:
-
Roar! Rock of Angels Records
Streaming not yet available
In a parallel universe, the cremarys melted in 2001 after a decade of honest career and never had rethinking about it. They are remembered for having kept the German flag in the evolution of the Gothic Metal scene of the nineties high and, while remaining a step back compared to other European colleagues, they left a mark with albums in their own historical ways such as “Illusion”, “Crematory” and “Awake”, without forgetting the most Ruffiani “Act Seven” and “Believe”.
The old Cremar fans in this multiverse have been lost a couple of good jobs such as “Klagebilder” and “Antiserum”, but they did not have to see their darlings repeat themselves indefinitely in increasingly watered productions – with this “destination” we have reached the tenth album from the reunion of 2003 – and the soul of the good Peter Steele rests in peace without being overwhelmed by the objective of the of “My Girlfriend's Girlfriend”.
The novelty on this lap is that, lost the guitarist/singer Connie Andreszka on the street, the vocal sector depends for the first time for some time entirely on the Uvla di Felix Stass, the only original member together with the drummer Markus Jüllich and the keyboardist Katrin Jüllich. If the corpurnioso base of the corpulent baseboard is a distinctive feature of the formation of the Baden-Württemberg, on the clean song the step back is unfortunately evident: the negative peak in this sense touched by the aforementioned reinterpretation of the Type or negative (to which for the chronicle Michelle Darkness of the End of Green also takes part), but things do not go much better in the most reflexive “after isolation” ( long for almost six minutes) and “Deep in Silence”.
The other aspect that jumps to the ear is the greatest weight given to the guitars of Rolf Munkes, in the evident attempt to want to also seek some primordial sections, when they could still be combined with Death Metal: the comparison with the glories of the nineties would be not unsustainted and, even if some passage does not disfigure compared to the most recent production (the title-track, “The Future is a Lonely Place”). They were the historical strengths, from the cantat in the mother tongue (“Welt AUS Glas”) to the use of EDM-like Synths (“Days Without Sun”), are less effective on this occasion, with the keyboards of Katrin less daring than “Antiserum”; Similarly, the parts where the guitar carries out more space, from the similar breakdown in the “banished forever” special to the short solo of “Ashes of despair”, little or nothing add to the economy of a sound that has often made rhythmic square its strength together with electronics. The ignorance from Balera of “Toxic Touch” and the straight for the straight of “Das Letzte ticket” is therefore welcome to the end. A handful of discreet pieces in the head and in the queue is not enough to raise the fate of the seventeenth seal, but a flame of the crematorium is still on before the ashes of the Gothic Metal Metal Band are scattered in Germany.
Daniel D`Amico for SANREMO.FM
