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Crematory (Awake)

Crematory found a competent partner in Nuclear Blast who, with the release fo „Awake“, would bring Crematory to unknown heights.

The band delivered a brilliant piece of melodic Gothic – Metal after their legendary predecessors. “Awake“ went straight into the German album charts at N.54.


01 Maze 1:13
02 Lords Of Lies 5:11
03 Away 4:42
04 Temple Of Love (Written-By – The Sisters Of Mercy) 4:46
05 For Love 4:35
06 Crematory 4:57
07 My Last Words 5:11
08 The Loss 4:13
09 Yourself 5:15
10 Mirror 5:25

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Biography of Crematory:

One of the pioneering acts of the fertile European goth metal scene in the 1990s, Germany's Crematory began as a strict death metal unit before adding goth and industrial elements into their arsenal. Formed in 1991, their 1992 demo quickly caught the attention of Massacre Records, which would issue the band's debut long-player, Transmigration, the following year. Tours alongside Tiamat, My Dying Bride, and Atrocity helped to expand Crematory's fan base, and they began seeing heavy rotation on MTV Germany, which they responded to by recording their 1996 Nuclear Blast-issued eponymous album completely in their native language. Subsequent LPs like Awake, Act Seven, and Believe saw Crematory moving in a darker, more surreal direction that leaned more heavily on the gothic side of their persona, but despite their enormous popularity, by 2001 they had elected to disband. Crematory returned in 2004 with the triumphant, techno-metal-fueled Revolution, which was followed closely by a live LP chronicling their reunion tour. They re-signed with Massacre for 2006's Klagebilder, where they would reside until the release of 2014's Antiserum, which was released by via SPV/Steamhammer. Monument, the band's 13th studio album, followed in 2016.

Don't miss the other albums we have from Crematory:


Excellent, really excellent. This Believe reminds me Kreator's Endorama (sound of guitars and song-writting), but a bit more electronic. The voice is as usual : guttural. This is the type of album you put in the CD-player without skipping any song. The only "bad point" is this similarities between the song where I didn't really know if I was listening to song 1 or 4. The production is also excellent with crystal clear sound for each instrument (special mention for the keyboard "effects").This is one of the best production I have heard this year. If Crematory wasn't using guttural voice I could bet their music would have a big success on the radio.
Don't misinterpret my words : this is metal, with excellent symphonic moments (piano, violin), but like the last Rage or Kreator's records, this is a "quieter" metal, full of atmospheric feelings. If you like gothic, check this one.

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Klagebilder opens with the instrumental title track, a surprising stylistic detour for this long-running German goth metal band; it's not even the usual pretty, proggy keyboard-based interlude one often finds on goth metal albums, but a slice of full-on downtempo electronica that wouldn't sound out of place on an Air or Stereolab album. Following that, things move into more traditional metal territory, but there's a distinctly pop-oriented cast to much of the album. "Kein Liebeslied," for example, features a catchy, harmony heavy chorus that recalls '80s pop-metal acts like Whitesnake or Skid Row, and "Kaltes Feuer" and "Hollenbrand" blend heavy guitar riffs with synthesizer pulses straight out of vintage New Order. Some subsets of the metal audience will no doubt be somewhat put off by this album, which is almost entirely lacking in the signifiers one expects of European metal these days -- the singer doesn't even sound much like the Cookie Monster -- but Klagebilder is an interesting updating of metal tropes from a couple of decades previous.

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