The Cult

[Falcon]

http://www.canada.com/vancouversun/news/arts/story.html?id=612a9bf5-dc59-47fe-b187-482dfd29f74d

Cult happy about its Canadian cult following
U.K. rockers playing the Orpheum tonight earn respect from critics with new CD
Amy O'Brian, Vancouver Sun
Published: Wednesday, March 26, 2008

The Cult is a band that has seen its rock heyday come and go. In the late '80s and early '90s, they performed in arenas filled with long-haired, leather-wearing fans. Their big loud sound inspired fist fights and fist-in-the-air sing-alongs.

But even with the tremendous commercial success of albums such as Sonic Temple, Love and Electric, the British-born rockers never received much respect from the critics. Instead, they were often mocked for their over-the-top goth rock style.

So it's no small reward for guitarist Billy Duffy to finally be receiving critical acclaim for the Cult's most recent album, Born Into This. It hasn't burst on to the charts or received widespread acclaim, but the album has been receiving modest accolades from music writers -- including those in the U.K., who once seemed to revile the Cult.

We're quietly quite proud of our new album," Duffy said over the phone from his California home.

"It's been pretty well critically received and in the U.K., it's actually been an album of the month in Mojo [magazine] -- you know, stuff we've never had as a band. We've never really been press darlings."

Duffy and singer Ian Astbury are the two remaining original members of the band, performing tonight at the Orpheum.

The Cult has a long history with Vancouver. In 1988, they recorded Sonic Temple here with producer Bob Rock. A couple of years before that, Astbury was carted off to a Vancouver jail for allegedly assaulting security guards at one of their rowdy shows. (He was never charged.) And over the years, the city's natural surroundings have motivated Duffy to lace up his hiking boots and work up a sweat.

"I used to be a kind of outdoorsy type, so I used to appreciate doing the Grouse Grind and that type of stuff. I'm kind of into that. I like to do that sort of hiking type deelio," the 46-year-old said.

"Vancouver was primarily responsible for re-awakening my interest in that when I made an album there."

For some reason -- perhaps because they've spent a lot of time here -- the Cult has always had more of a following in Canada than elsewhere. Astbury spent part of his childhood in Hamilton, Ont., where he was introduced to the North American native traditions and imagery that later played a role in his music.

But Duffy isn't sure any of that is responsible for the Cult's success in Canada, where audiences were not initially impressed.

"The first two gigs we did in Canada -- one was at Larry's Hideaway in Toronto and I think there were 120 people there. And the second gig was Club Soda in Montreal. There were so few people there that the guy who owned the bar said, 'Can you split your set in the middle so people will stick around and drink more?' "

"Our start in Canada wasn't exactly auspicious."

Duffy has had two decades to consider why the Cult has such a devoted Canadian audience, but says he's still somewhat baffled by it.

"I wouldn't say we're the only band that's happened to. One we always laugh about is the Scottish band, Nazareth. They have a phenomenal following in Canada, still to this day," he said.


He theorizes that perhaps his band's popularity in Canada has to do with our historical connections to Britain.

"There's more of an understanding in Canada of the Cult. People get it. The Britishness of it and the quirkiness and even though it's pretty much straight-up rock, it's not.

"They kind of get the subtleties and maybe like the humour thing. Canadians get British humour, in a way that Americans don't."

Whatever the reason, Duffy isn't questioning the love. He is grateful for the band's longevity and the fans who have allowed for the Cult to keep playing.

And, perhaps best of all, he is proud that the Cult is still relevant after all these years.

"There's a little satisfaction that you can still come up with something that has some degree of credibility and sounds relatively fresh in this day and age," he said. "It's not just some tired old version of what you've been doing for years."

[Falcon]

A new Billy Duffy interview done prior to The Cult's recent show in Glasgow can be found here:

http://www.stv.tv/content/out/music/videointerviews/display.html?id=opencms:/out/music/video_interviews/cult_billy_duffy_iv

Covers lots of ground including rumors of Led Zep support, touring with The Who and moving west to make it in America.

Good questions, insightful answers.

Cool stuff.

[Falcon]

Another new Astbury interview can be found here:

http://thecult.us/images/press/buddchann08.jpg

[Falcon]

Edmonton journal article:

http://www.canada.com/edmontonjournal/news/culture/story.html?id=68b02800-65e3-447c-944c-69278cfcaf70


After all this time, The Cult finds new layers to reveal
Through his Buddhist studies, Astbury taps into deeper meaning from earlier work
Mari Sasano, Freelance
Published: Monday, March 31

EDMONTON - Of all the songs on The Cult's latest album, Born Into This, singer Ian Astbury's favourite is one written about his current love.

"Holy Mountain was the pinnacle of this record for me. It's the most honest and earnest song about a relationship with my girlfriend, giving insight into our love and honouring her. In the context of The Cult, it shows a lot of maturity and growth."

It's a surprise, considering the band is best known for pulling out all the stops for huge stadium-shaking numbers like She Sells Sanctuary and Fire Woman. Astbury chalks it up to growing up and a deepening understanding about who he is now.
"I think the days of anthemic rock are behind us. It was a rite of passage at that point on an upward trajectory, as a popular group in terms of commerciality. But it was contrary to the spiritual, when I was trying to get away from material pursuit. I was always aspiring to be an artist, to tell my truth."

Don't dismiss the English band's ability to do the big guitar rock song quite yet. A song like Illuminated fits the bill quite nicely, thanks mostly to The Cult's guitar player and co-songwriter Billy Duffy. Though Astbury and Duffy have famously quarrelled over the years, they are getting along much better these days -- breaking up and reforming twice, most recently in 2005.

"Yeah, we respect each other. We are very different from each other, but that's the nature of the animal. He's the quintessential guitar player, his instrument is an external part of his body. But as a singer, I am my instrument. I can't just take it off and leave it. It's always with me."

Through his study of Buddhism, Astbury has come to terms with the whole macho rock persona.

"Absolutely. It's been a test at times. But for me, the war is over. The idea of rock 'n' roll as a cultural weapon of revolution, of young romantic visionaries and their outward, masculine perspective -- the only real change comes from within; truth and gentleness."

That change has meant that he's put aside some of his older songs. But it has also given him a greater insight to the deeper meanings of the earlier work that he continues to perform.

"Fire Woman was more of a guitar exercise, the lyrics have no connection. It's really a pastiche of the blues, more of a symbolic gesture than emotional content. But some early songs like Spiritwalker and Horse Nation, there's a connection to this spirituality there. And Edie -- people thought it was about Edie Sedgwick, and I thought it was too. But looking back, it was autobiographical. She Sells Sanctuary -- well, who's 'she'? That's the universal matriarch, the divine feminine.

"The ability to step back and look at it, when I was writing, I had an innate sense of what I was trying to communicate even if I didn't understand it at the time. That ambiguity is the thing about The Cult -- you can't always deconstruct it, and that's one of the reasons we go on performing. There are layers to this band."

Though Astbury will continue to write material for himself and collaborate with outfits like UNKLE, there does seem to be a magnetic pull to return to The Cult. More than a quarter of a century since forming, he really does seem to be born into it.

"The Cult legacy is part of my legacy; it's something I can only do when I feel it's the truth for me. I'm committed to this band, this record, this material. My mission is to perform these new songs. It's like a stone thrown into water, and the other songs are the ripples."

[FunkyMonkey]

THE CULT Frontman Explains LED ZEPPELIN Remark - Apr. 3, 2008

THE CULT frontman Ian Astbury has told Canada's Sun Media his band won't be hitting the road with LED ZEPPELIN if and when the legendary group should decide to spin a full-blown tour out of its recent one-off reunion show.

Astbury ? who supposedly dropped some not-so-subtle hints to that effect late last year ? says the whole scenario is just another case of the press making a big deal out of nothing.

"That really goes to show you how naive people are, and how these things can get blown out of proportion," said Astbury. "It's been embellished by journalists ... I haven't even spoken to anyone from LED ZEPPELIN's camp."

Astbury reportedly announced during a show in Cincinnati, Ohio on November 17 that his band would support LED ZEPPELIN on a 2008 tour.

According to an MTV.com report, Astbury told the crowd, "We'll be back next year because we're opening for a band you may have heard of ... the name starts with an 'L' and has a 'Z' in it." After a fan shouted, "LED ZEPPELIN," Astbury nodded and raised his arm in the air.

A flurry of speculation about a LED ZEP reunion jaunt followed, with most outlets citing Astbury's comments as proof that a tour was in the works. But when pressed for clarification on the matter, Astbury told Sun Media he was simply asking the crowd what they'd think of his band one day performing with the legends. He insists he wasn't trying to spill the beans about THE CULT's involvement in any reunion, since he has no idea whether LED ZEPPELIN even plans to tour at all.

"The only reason I said it is because I'd read about them playing at the (reunion) concert," Astbury said. "I didn't think anything of it beyond that."

Read more at this location: http://jam.canoe.ca/Music/Artists/C/Cult/2008/04/03/5181291-sun.html

[Falcon]

Winnipeg article an be found here:

http://www.whatsonwinnipeg.com/index.php?option=com_content&task=view&id=42167

No escape from The Cult and duo's just fine with that
 
April 3rd, 2008 
It would have been easy for Ian Astbury and Billy Duffy to put The Cult back together and tour the world as a nostalgia act on the strength of their back catalogue.
But it would have been too easy. Instead, the longtime songwriting partners wrote a batch of new songs together and released Born Into This, a surprisingly strong album that fits perfectly alongside older favourites like Electric and Sonic Temple.

"We wanted to show we could play the hits and dig up old songs, but write new songs that hold up -- that's where the challenge is, and for me and Ian, that's important," guitarist Duffy says. "Some bands are happy to play the hits and make dough, but we're not like that."

The album is the first for The Cult since 2001's Beyond Good and Evil, for which Duffy and Astbury reunited after six years apart. The first reunion was derailed by record-label troubles, but with a new deal with Roadrunner and a newfound sense of purpose, neither Duffy nor Astbury see an end to this current incarnation, which stops at the Centennial Concert Hall Wednesday (tickets are $39 and $45 at Ticketmaster).

"It depends upon the quality of the work we're doing and if the desire is there to do it," says vocalist Astbury.

"The Cult works best when it's got something to say, if there's an intention behind what we're doing. It's just a job if there's no intention. I'm committed to this album, emotionally and spiritually," says the singer, who decided to reform the Cult following four years fronting The Doors of the 21st Century, doing his best Jim Morrison impersonation in front of original Doors keyboardist Ray Manzarek and guitarist Robbie Krieger.

"I had to learn over 40 songs and not only learn the lyrics, but the nuance, certain sentiments and actions in songs, and so from that perspective I really had to go away and do my homework," he says of his stint with the revamped classic rock act. "I had a responsibility to myself to be the best I could be, and also to Ray and Robbie. I had to raise my standings and I'm trying to bring that intelligence now to the work I do and standards and my performances. I learned a lot."

Astbury was singing Morrison's lyrics night after night while writing his own on the side. He eventually realized what he was working on was more appropriate for The Cult and contacted Duffy. The pair assembled a band, started performing again and recorded a demo for the song I Assassin during an Argentinean tour as a litmus test to see if the old songwriting magic was still there. It was and soon the duo started working on a full album, Duffy says.

"Once we get back together, it's like it always was. It was a familiar relationship. We're pretty connected: that voice and my guitar. The vibe's on, man. When it's good, it's good."

While Astbury was touring with the Doors, Duffy lived in California and played in a cover band with Alice in Chain's Jerry Cantrell. He had just released an album with the band Circus Diablo, featuring Ricky Warwick of The Almighty and ex-Fuel vocalist Brett Scallions), when he got the call to rejoin Astbury, whom he first started playing with in 1983 in the band Death Cult. (Coincidentally, Scallions is now fronting Riders on the Storm, the name the Doors of the 21st Century now go by.)

"Everyone knew if the Cult was available to me, that's what I would do," Duffy says.

The time away from The Cult allowed Astbury to rejuvenate and cultivate some new life experiences that helped form the songs on Born Into This, he says. He describes the lyrics as the most personal of his career; the songs about his life and relationships are laid bare, with less symbolism and fewer metaphors than he relied on in the past.

"Diamonds is about my girlfriend Paula, her character; it's something I know. Holy Mountain is about how we met and our relationship -- it's a real heartfelt, earnest baring of the soul.

"In a lot of ways I'm liberated. I'm not afraid of sharing myself that way anymore. I'm a lot more intimate, a lot more mature. The Cult is more mature."
 

[Falcon]

Calgary Herald article:

http://www.canada.com/calgaryherald/news/entertainment/story.html?id=3f6c203e-5146-4e9f-b2d9-c5f401a2a17b

The personality of Cult
1980s veterans stand by their sound on new disc
Eric Volmers, Calgary Herald
Published: Thursday, April 03, 2008
Spotlight

The Cult will play Flames Central on Friday and Sunday. Tickets at Ticketmaster

The formula is instantly recognizable, the swagger unmistakable. On its most recent single, Dirty Little Rockstar, 1980s post-punk hard rockers the Cult blast back onto the scene with a familiar mix of Billy Duffy's metallic guitar riffs and Ian Astbury's ripe baritone.

"You wanna be a dirty little rock star? I don't see no dirty little rock star," Astbury thunders, apparently taking exception to a new generation of drug-addled celebrities making tabloid headlines.

When asked about the tune in an interview at his Los Angeles home, Duffy opts for a little more diplomacy than the song implies.

"It's a bit tongue-in-cheek," says the guitarist. "It's a comment or an observation of the celebrity lifestyle that is common: famous for being famous, not for doing anything. It's not even a criticism really. We are no authority figures in the Cult. We are a couple of guys who both have kids and are in our 40s. We aren't going to preach. It's a wry observation. We certainly understand that lifestyle and we lived it. The difference was, we could write songs and do gigs and get ourselves out there."

In case you forgot, the Cult were card-carrying, true-blue rock stars back in the day, living a larger-than-life existence that suited its stadium-ready, bigger-is-better songs such as She Sells Sanctuary and Fire Woman.

In a recent interview, Guns N' Roses' bass player and recovering drug casualty Duff McKagan suggested his former band's 1987 tour opening for The Cult was the apogee of their decadent, wild days. That was when rock stars knew how to be rock stars, Duffy says.

"That was a fun period," he says. "But it was always based on substance. We always had hits. We were on the road. We weren't just popping into bars and being trendy."

It's been nearly a decade since the British-born Cult has been properly in the spotlight. Tensions between Astbury and Duffy began to derail the act in the early to mid-1990s, just as the first glimmers of alt-rock and grunge were threatening to render hard-rock bands irrelevant.

On their new album, Born Into This, Duffy and Astbury enlisted the help of Youth, an in-demand producer who has worked with everybody from U2 to Paul McCartney to the Orb and Axl Rose on his decades-delayed Guns N' Roses' album Chinese Democracy. Duffy says the idea of the new Cult album was to achieve a sort of anti-Chinese Democracy dynamic -- capturing the band at its most spontaneous and stripped down.

"The idea was freshness and capturing what we sound like now," he says. "We've done albums where we've laboured and forced an album where really there wasn't an album there to be made. With this, we wanted to capture what we have and get it down quickly."

Duffy says he hopes Born into This reminds fans that the Cult was never meant to be mainstream rockers.

Rolling Stone once described them as "a heavy-metal band for folks who think they're above such things."

Duffy prefers his own description. "We were fans of punk who learned how to play," he says.

"I was 15 when punk happened in the U.K. The punk that was happening was real punk: The Clash, Siouxsie and the Banshees, the Stranglers. I feel like a hippie talking about Haight-Ashbury in the 1960s. But I was there."

The very first version of the the Cult was actually called the Southern Death Cult, which Astbury began in Bradford, Yorkshire in the early 1980s without Duffy. The guitarist joined a few years later and the band's sound began to drift from post-punk, goth rock to more radio-friendly territory.

From 1985 to 1990, the band found mainstream success with a series of songs that have stood up surprisingly well over the years. Since that time, tensions and side projects have led to numerous breakups and hiatuses. In 2002, Astbury joined the reunited Doors as a fill-in Jim Morrison -- a singer whose mystic bent has been a clear influence on the Cult.

We just drift apart and drift back together," Duffy says. "We have no pressing need financially to do this. It's not that we have to reform. I have no desire to inflict a bunch of second-rate She Sells Sanctuarys on the public just to satisfy my ego. We want to make lasting music."

[Falcon]

Great interview with Ian done by Josh Holliday of Calgary's X92.9 can be found below.

Talks of how Born Into This took shape, Joy Division, The Gathering of The Tribes (a great jab at Perry Pharrell there), world views and socialogical credibility, spirtual self and Tibet, the Canadian music
scene, current setlist, musicians he'd like work with, UNKLE, Rick Rubin, Bob Rock and much more.

http://www.x929.ca/shows/holliday/

"I was pretty excited about this one, as I was a big fan of The Cult while growing up, and even had some singles on vinyl. What?s vinyl? Another time. Another time. Ian Astbury has been on the scene for many years and has a wealth of experience and insight into the ?rock? world. Here?s the interview in three parts:"

http://joshholliday.com/X%20Stuff/Astbury1.mp3

http://joshholliday.com/X%20Stuff/Astbury2.mp3

http://joshholliday.com/X%20Stuff/Astbury3.mp3

[Falcon]

Another Ian interview, this from Edmonton's k-rock 97.3.

Lotsa cool shit discussed, give it a listen.

http://www.k-rock973.com/images/K-ROCK%20STUFF/MEDIA/IanAstbury270308.mp3

[Falcon]

Calgary review from Abort magazine:

ABORT Magazine

Live Revew - The Cult w/The Cliks
Friday April 4, 2008
Flames Center, Calgary AB

Touring in support of their latest disc Born Into This, rock legends The Cult drew in a crowd at Calgary?s Flames Center that put even Jonestown to shame. The show opened with Toronto?s The Cliks, who played a tight set of catchy, off-kilter rock that echoed everything from Bauhaus to bubblegum. Except for ?that one guy? who kept repeating ?hurr, hurr, it?s the Go-Go?s? to warn us of his tragic Asperger?s affliction, the band engaged the crowd and even had them singing along to a brooding cover of Justin Timberlake?s Cry Me a River.

By the time The Cult took the stage, the words ?standing room only? were trampled and left to die, with even the stairwells filling up with fans. Any fears of age robbing the band of their energy were allayed early on, with their classic songs still as powerful as ever. Ian Astbury?s slightly more ragged croon actually fit some of their classic tracks better than ever, especially Horse Nation. While they pulled in the audience with their classics, the band?s new material held its own, mixing itself into the set with no jarring effect.

The highlight of the show was Astbury?s solo acoustic rendition of the track Holy Mountain, dedicated to the people of Burma and Tibet. It?s too bad that some of the audience decided that the song was the perfect opportunity to loudly catch up with drunken friends, get into fist fights, and pose for snapshots. Still, in spite of some fat asshole with a caved in face bleeding on my shirt, the song managed to eclipse its recorded counterpart. A man who looked like he somehow took Spinal Tap seriously seemed to agree with me, furiously playing his air guitar like a lost member of the band. In the end, The Cult showed that they still have what it takes to lead, though some of their Calgarian congregation has aged far less gracefully.

[Falcon]

The Globe & Mail

The Cult still earns its followers
BRAD WHEELER
From Monday's Globe and Mail
April 14, 2008 at 3:55 AM EDT

The Cult
At Sound Academy
In Toronto on Saturday

Ironically, the band named the Cult is a tough one to follow. Breakups, tensions and revolving-door lineups have dogged the British power-rockers since their late eighties heyday, putting their status at any given time in question. Its latest incarnation includes the only two men who matter, guitarist Billy Duffy and singer Ian Astbury, the former a riff-ripping rock star, the latter a Jim Morrison fetishist who not so long ago stepped into the floppy boots of his shamanesque hero.

It was 2002 when Astbury, who spent part of his youth in Hamilton, Ont., joined former Doors principals Robbie Krieger and Ray Manzarek in a road-show revival known originally as The Doors of the 21st Century. Astbury left that ersatz crew, releasing a new album with the Cult, who are currently travelling this country. But what then? What is the place of the mercurial Cult in the 21st century?

Hot Sticky Scene, You Know What I Mean

A grand entrance unveils a band that has higher ambitions than a simple head-banger's ball. An immense crimson curtain splits open as the ostentatious progadelic intro music gives way to a squall of guitar feedback. Astbury, in a dark leather jacket and with his hair pulled back tighter than the skin of the tambourine he grips, takes hold of the mic-stand (and never lets it go all night) on the forceful, riff-driven Nirvana, howling on about raining flowers, and how love is at hand when "the music is loud." No flowers, but herbs are in the air for the fist-pumping, swooping melodic bigness of Rain, from 1985's breakthrough Love album - "Open the sky, and let her come down." And it pours, sure thing: Banging versions of anthemic arena-rumblers Sweet Soul Sister, Fire Woman and the rest of a formidable catalogue, all embroidered with Duffy's solos and stock guitar phrases and hero poses, the high-armed Pete Townshend being a regrettable favourite.

Cult Following

A sprawling demographic in a sardine-packed room is indicative of the Cult's stylistic base that covers neo-psychedelia, eighties-indie guitar jangling (Spiritwalker), uncomplicated AC/DC-isms (Wild Flower) and one dedication, Horse Nation - "any First Nations in the house?" asks Astbury, with all the sincerity an Englishman with a wolf tail hanging from his back pocket can muster. The Cult's new disc, the recycling Born Into This, is under-represented, but something like the bruising Savages is not altogether dismissed by an audience on the beat for past hits.

Shout Out to Lukas Rossi

Astbury is no showman, and not the shaman his pseudo Native American mystical lyrics pretend him to be. Not that he's a show-gazer, but his engagement with the audience only amounts to a few post-song "thank you, Toronto" obligations. A small part of the crowd, however, catches the singer's winking reference to the Canadian winner of the television reality series Rockstar: Supernova. "This is for Lukas," says Astbury, preceding the sardonic Dirty Little Rockstar, a tune that shamelessly builds itself around the trebly guitar chords of the Stones' Undercover of the Night.

Cult Status

"We have one more song," Astbury says at the end of the set, "and you know what it is." She Sells Sanctuary, the memorably soaring single from 1985, remains the band's calling card. Astbury's voice is still up to it; as a guitarist, this is Duffy's finest moment. It's a bit dated - sort of a psychedelic Big Country - but towers yet. Which is about what you can say about the Cult, who still has an audience, and still earns one. The future's always uncertain for this band, but there's nothing to indicate that the end is near.

The Cult plays in London, Ont., tonight and in Montreal on Wednesday.

[SLCPUNK]

THE CULT Frontman Explains LED ZEPPELIN Remark - Apr. 3, 2008

THE CULT frontman Ian Astbury has told Canada's Sun Media his band won't be hitting the road with LED ZEPPELIN if and when the legendary group should decide to spin a full-blown tour out of its recent one-off reunion show.

Astbury ? who supposedly dropped some not-so-subtle hints to that effect late last year ? says the whole scenario is just another case of the press making a big deal out of nothing.

"That really goes to show you how naive people are, and how these things can get blown out of proportion," said Astbury. "It's been embellished by journalists ... I haven't even spoken to anyone from LED ZEPPELIN's camp."

Astbury reportedly announced during a show in Cincinnati, Ohio on November 17 that his band would support LED ZEPPELIN on a 2008 tour.

According to an MTV.com report, Astbury told the crowd, "We'll be back next year because we're opening for a band you may have heard of ... the name starts with an 'L' and has a 'Z' in it." After a fan shouted, "LED ZEPPELIN," Astbury nodded and raised his arm in the air.

A flurry of speculation about a LED ZEP reunion jaunt followed, with most outlets citing Astbury's comments as proof that a tour was in the works. But when pressed for clarification on the matter, Astbury told Sun Media he was simply asking the crowd what they'd think of his band one day performing with the legends. He insists he wasn't trying to spill the beans about THE CULT's involvement in any reunion, since he has no idea whether LED ZEPPELIN even plans to tour at all.

"The only reason I said it is because I'd read about them playing at the (reunion) concert," Astbury said. "I didn't think anything of it beyond that."

Read more at this location: http://jam.canoe.ca/Music/Artists/C/Cult/2008/04/03/5181291-sun.html

People should remember this when making wild speculations about GnR based on a comment or two.

[Falcon]

Another Ian interview, this from the Strombo Show:

Part 1:

http://www.sacredsoul.us/stromboshow/interviewpart1.mp3

Part 2:

http://www.sacredsoul.us/stromboshow/interviewpart2.mp3

[mrlee]

is there a footage version available of The Cult live at Wembley Stadium 1989 (i think thats the year)?

Also, Sonic Temples my favorite album, ive got Love Remastered, and i think i have Electric remastered, did they ever remaster this album?

[Falcon]

is there a footage version available of The Cult live at Wembley Stadium 1989 (i think thats the year)?

It was actually Wembley Arena, played there a few times.  The "Sweet Soul Sister" video was filmed there. 

Maybe search youtube for clips.

Also, Sonic Temples my favorite album, ive got Love Remastered, and i think i have Electric remastered, did they ever remaster this album?

Yep, Sonic Temple has been remastered and is available.

[Falcon]

The VH1 documemtary "The Cult - Behind The Music" can be found in it's entirety (3 parts)
at this location:

http://www.sacredsoul.us/cms/index.php?option=com_content&task=view&id=38&Itemid=9

[mrlee]

The VH1 documemtary "The Cult - Behind The Music" can be found in it's entirety (3 parts)
at this location:

http://www.sacredsoul.us/cms/index.php?option=com_content&task=view&id=38&Itemid=9

YOU OWN FALCON!!!!! THANKS A MILLION

[Mysteron]

The current Cult line-up are playing a good live show

I saw them earlier this year, and it was their best show for a long time

[Falcon]

YOU OWN FALCON!!!!! THANKS A MILLION

It's a fairly good thumbnail look/history of the band through the "Beyond Good and Evil" era although a bit too "Behind The Ian" for me personally. 

The current Cult line-up are playing a good live show

I saw them earlier this year, and it was their best show for a long time

It's definitely their heaviest line up to date and the live show is pure adrenaline.

Lean, mean and loud.

[Falcon]

Here's a link to the Holy Barbarians (Ian Astbury's first post Cult band, circa 95-96) gig at London's legendary 100 Club, April 4, 1996.

http://www.youtube.com/results?search_query=holy+barbarians+100+club&search_type=

Thanks to jim90290 @ youtube