The Cult

[Falcon]

A new article featuring Ian, thanks to edcult and www.cultcentral.com for the following:

http://weeklyseven.com/ae/2010/september/09/wild-hearted-son

Wild-Hearted Son
At age 48, The Cult?s Ian Astbury grows edgier, more ambitious
By Jarret Keene | September 9th, 2010

Nobody has mined the fault line between the underground and the overground better than Ian Astbury, 48, frontman for the British hard-rock outfit The Cult, whose commercial zenith hit in the late-?80s, just before grunge de-leather-pantsed every young male rock star. His vocal attack is equal parts Ian Curtis, Jim Morrison and Robert Plant. Hits such as ?Fire Woman? and ?She Sells Sanctuary? straddled alt-rock and glam metal, while Astbury?s interest in Native American culture infused every cosmic-inclined lyric and arena-ready guitar riff with a spiritual quality.

Still, even in those years when The Cult was at the top of its multi-platinum game, you sensed Astbury had bigger aspirations. ?There have definitely been periods, particularly at the height of Sonic Temple, when the touring was extreme,? Astbury says. ?It brought us beyond the point of exhaustion. That kind of compromise on the road can be life-threatening. Creatively, we love writing and being in the studio, but for a long time that was all placed in a secondary position. Compromise, for us, is touring. Yet you do it for higher ground.?

If you?ve seen The Cult live, then you know how inspiring that higher ground can be. The band, which now comprises Astbury, longtime co-writer/guitarist Billy Duffy, and three newer members (drummer John Tempesta, bassist Chris Wyse, rhythm guitarist Mike Dimkich), sounds reborn.

?The creative side drives us today,? Astbury says. ?It?s more important than ever. The band is more of a band. It?s been four years with this group of guys, and we?re really tight. In terms of energy, the Cult is about as pure as it?s been, perhaps since 1985, and I like to think that we?re getting close to our best work.?

That work, which so far this year has only included the single ?Every Man and Woman Is a Star? (a two-week iTunes exclusive), will see the light of day in unorthodox fashion. Astbury has a plan to deal with what he terms ?the Wild West mentality of today?s so-called music industry.? Rather than release a proper album, he hopes to unveil ?capsules,? or clusters of three songs released every few months, for a limited time, via the band?s website, along with a film. ?The idea of going into a studio and making an album and then touring doesn?t work so much now,? Astbury says. ?Who knows? Perhaps at the end of a [capsule-release] cycle, we?ll do a physical release.?

In addition to The Cult, Astbury has immersed himself in dark, aggressive music. Last month saw the release of BXI, a four-song EP, in which he lends his voice and lyrics to riffs created by Japanese sludge trio Boris.

?I personally get off on Boris,? Astbury says. ?I have great admiration for that band, as well as [drone-metal pioneers] Sunn O))). Experiencing their live shows, I?m always in awe of what?s happening onstage. I took my sons to see Sunn O))), and they were still speechless two hours later. The ritual space of live rock is so important ... it can have a profound impact.?

For all his thinking about music, Astbury insists you don?t need an overriding intellect to be an authentic artist. What you should follow first is instinct.

?I love to see a band, no matter how old or young, dying for it. I love to watch them, hands on their hearts, taking a leap of faith.?

The Cult (with The Black Ryder) play The Pearl at the Palms at 8 p.m. Sept. 16, $29-$35, 944-3200.

The highlighted part above particulary rings true with me and the experience of going to Cult shows throughout the years. 

Not to get all metaphysical but It's a very tribal, ritualistic feel.  The crowd ranges everywhere and all points in between.  Goth's, rockers, ravers, punks - Native Americans in full on warpaint and headdress.

It's equal parts cool and strange...and LOUD.   

[FunkyMonkey]

^^ A good interview with Ian.  So they will be releasing clusters of songs every few months...

?The creative side drives us today,? Astbury says. ?It?s more important than ever. The band is more of a band. It?s been four years with this group of guys, and we?re really tight. In terms of energy, the Cult is about as pure as it?s been, perhaps since 1985, and I like to think that we?re getting close to our best work.?

Rather than release a proper album, he hopes to unveil ?capsules,? or clusters of three songs released every few months, for a limited time, via the band?s website, along with a film. ?The idea of going into a studio and making an album and then touring doesn?t work so much now,? Astbury says. ?Who knows? Perhaps at the end of a [capsule-release] cycle, we?ll do a physical release.?

[Falcon]

So they will be releasing clusters of songs every few months...

That's the tentative plan for now, nothing's ever 100% when it's The Cult. 

That said,  4 new songs with Chris Goss are indeed done - 2 of which will be featured on Capsule 1.

[Falcon]

BXI from the Masonic Temple in NYC 9/7/10:

We Are Witches : http://www.youtube.com/watch?v=JRL5b4zOsjI

Teeth & Claws : http://www.youtube.com/watch?v=dpr0GzDyU8E

http://www.youtube.com/watch?v=07-fS967Zu4

http://www.youtube.com/watch?v=hoflYeCGH64

http://www.youtube.com/watch?v=j27gH0gMZw8

[Bansidhe]

30 second clip of Siberia

http://soundcloud.com/marcjordan/the-cult-siberia-snippet

[Bansidhe]

Guessing we'll be able to order from here.

http://www.cultcapsulestore.com/

[Falcon]

Guessing we'll be able to order from here.

http://www.cultcapsulestore.com/

As far as I know that will indeed be the only oulet (for now) for purchase.

It will not be available in any of the major retailers for the foreseeable future
 

[FunkyMonkey]

BXI from the Masonic Temple in NYC 9/7/10:

We Are Witches : http://www.youtube.com/watch?v=JRL5b4zOsjI

Teeth & Claws : http://www.youtube.com/watch?v=dpr0GzDyU8E

http://www.youtube.com/watch?v=07-fS967Zu4

http://www.youtube.com/watch?v=hoflYeCGH64

http://www.youtube.com/watch?v=j27gH0gMZw8

Thanks for the videos. Here are some photos:

http://www.brooklynvegan.com/archives/2010/09/altar_sunn_o_bo.html

[FunkyMonkey]

An interview with Billy Duffy:

Sep. 10, 2010

SOUNDS: The Cult continues to evolve while staying true to punk rock spirit

He calls it nostalgia with a lowercase "n."

There's just a touch of irritation tinging Billy Duffy's voice as he speaks, as if The Cult guitarist has been pestered by some especially persistent gnat that's been buzzing in his ear for, oh, about two decades now.

"We write new songs, we tour, we're active," Duffy says, sounding equally bemused and a little annoyed. "People just think, 'Oh yeah, you had some hits in the 1980s.' We've done hundreds and hundreds of gigs to millions of people since then, you know?"

Sure we do.

We've been to a few of them over the years.

They go something like this: singer Ian Astbury, who's long been characterized as Jim Morrison's spiritual heir with his wild child, shamanistic demeanor, brooding and baying on the mic over Duffy's equally triumphant and tensile Gretsch guitar playing.

The band's sound, equally posited on forcefulness and finesse, encompasses a lot of things: a dark, gothy mysticism, classic, '70s-style guitar riffs, plenty of art rock aspirations and a battery of radio-friendly hooks.

In a way, it's anchored in rock 'n' roll tradition, but yet it carries with it a diffident, impulsive, punk-rock spirit largely attributable to where this band comes from. "That's definitely in our DNA," Duffy says of The Cult's punk roots in late '70s, early '80s Britain. "We kind of evolved in quite a difficult time, the post-punk (era). We were fans of punk who felt, 'Well, how do you follow that? Four years ago, it was all Led Zeppelin and flares and 10-minute songs, then it's Johnny Rotten, and now what do we do?' That all happened in less than a decade, and you're like, 'Whoa.' It was an interesting time to forge a band."

The backdrop for said forging of The Cult was a dreary one: the gray skies of the working class factory town that is Manchester, England, a blue-collar stronghold that was in the midst of profound social upheaval when Duffy was coming of age as a teenager.

"When I grew up in Manchester in the '70s, there was massive unemployment," he recalls. "I came out of high school when punk happened, and 'God Save the Queen' was a Sex Pistols single. That's my background. My future was no future. Ian was a year younger than me, and he was the same. We grew up with no hope. We were formed in that as young men, and it still permeates the music. The Cult wasn't formed in a yacht club."

As such, there's always been a do-as-we-please air about The Cult, who evolved in creative leaps and bounds, especially in their early years, when they went from the shadowy psychedelia of 1985's "Love" to the more muscular melodies of "Electric" to the anthemic stadium rock of "Sonic Temple," their biggest selling album in the States, in the span of but four years.

"We never got pigeonholed; we were a little elusive," Duffy says of The Cult's many musical growth spurts. "The downside to that was that, at any one particular moment in time, we never really capitalized fully (on the band).

"Me and Ian, we probably wear our hearts on our sleeves, and we're a lot less calculating than other musicians that we've come across," he continues. "We just do what we feel. We genuinely are into what we're into. We just get together, try and write some tunes and record them. It really isn't rocket science."

Maybe not, but The Cult is still trying to keep up with the times nevertheless.

In addition to releasing an invigorated, spontaneous-sounding record a few years back with 2007's "Born into This," the band recently issued a fiery new single, "Every Man and Woman is a Star."

It fits right in The Cult catalog: Like much of what this group has done throughout its career, the song feels both fresh and familiar in the same hot, fire-breathing breath.

"It's still guitar-oriented rock music that, in our opinion, attacks from the waist down as opposed to the waist up," Duffy says, pondering his band's longevity.

"I do it because I don't know how to do anything else. I'm a pretty bad soccer player," he chuckles. "Those are my options where I come from."

http://www.lvrj.com/neon/the-cult-102608909.html?ref=909

[FunkyMonkey]

BXI Featuring IAN ASTBURY, BORIS: Video Footage, Photos Of Brooklyn Concert Available - Sep. 12, 2010

BXI, the collaboration between THE CULT frontman Ian Astbury and the Japanese cult band BORIS, played a full-length set for the first time last Tuesday (September 7) at the Brooklyn Masonic Temple in Brooklyn, New York as part of a show with JESSE SYKES, SUNN O))) and BORIS.

Fan-filmed video footage of the performance can be viewed at this location.

Check out photos at Brooklyn Vegan.

http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=145935

[Falcon]

New Ian interview:

Ian Astbury with Boris

[Photo by Miki Matsushima]

Words by Andrew Parks

?People don?t usually drop the Cult as being one of their favorite ?cool? bands,? admits the band?s longtime singer, Ian Astbury, ?Because a lot of people associate us with late ?80s histrionics. The reality of the situation is that we were indie kids first?working class musicians who were into post-punk and psychedelic rock. Eventually it evolved into drinking beer, listening to AC/DC and selling millions of records, though, and I just went with it.?

Going with it meant switching gears from the proto-goth tunes of the Southern Death Cult to such pyro-ready stadium-rock singles as ?She Sells Sanctuary,? ?Wild Flower? and ?Fire Woman.? Somewhere between then and now, Astbury launched an ill-fated precursor to Lollapalooza (Gathering of the Tribes), slipped into Jim Morrison?s shoes on three of the Doors? reunion tours, and tracked an EP with his unlikeliest collaborators yet: the art-damaged Japanese band Boris.

On the eve of Boris and Astbury?s premiere BXI performance at Brooklyn?s Masonic Temple tonight, we asked Astbury about the following: Damien Hirst, Vogue fashion spreads, poverty-stricken reservations, 500-year-old monasteries, and his undying hatred for a certain breed of hipsters. (This story was originally supposed to be about Astbury?s non-musical influences?hence the Hirst question up top?but it quickly turned into an hour-long run through of the singer?s entire career.)

Damien Hirst's skate deck designs for Supreme

Let?s start by talking about Damien Hirst. I know you?re a major fan, but most people are only familiar with a few works of his?like the aquarium piece where he suspended a shark in formaldehyde. What are some other key facts people should know about him?
Well I?m not a Tea Bag Brit. I?m definitely an ex-patriot with a less romantic view of Britain. That?s one of the things about Damien Hirst, though?he?s a great romantic and working class hero. I love that he deals with death in his work, and the finality and the decay of the human body. It?s not just about trying to be shocking or controversial. His work is about the real themes of life. Like his butterfly paintings. Have you ever seen one of those things close up? They?re amazing. All of a sudden, it?s all about the profoundness of being. It?s an epiphany to look at that work.

Even his skateboard work with Supreme is stunning. It shows that his work isn?t just for the gallery cognoscenti, the enlightened Illuminati of Those Who Understand Culture.

Do you feel like the deeper meaning of his work is lost on most people?people who see it as just a shark in a tank or whatever?
Precisely. Some people don?t have that lexicon. On some level, they?re experiencing [the work], but their rational machinery doesn?t allow them to enjoy it. It just makes them think, ?I shouldn?t like this. This is pretentious. It doesn?t touch me.? Fine art?s a tough one. I remember the first time I saw [Jackson] Pollack. I didn?t know what it was, but it brought me to tears.

Really?
Yeah, I just started crying. It brought some raw emotion out in me. The same thing happened when I saw [Picasso's] Guernica painting close up and anything by Mark Rothko. There?s a guy who cut his wrists to the bone. When you hear that, his paintings suddenly make sense. All of these artists are trying to show how disconnected we?ve become from our emotions. That?s the kind of textural emotional space that?s in Boris and Sunn, too.

I?ve seen some fantastic snow jobs over the years?guys who look like they should be the next Bob Dylan or whatever, but once you examine the work, you think, ?Where did all of that [emotion] go??

?Ever since I?ve been a kid, I?ve felt like burning things down when life gets too comfortable?
You don?t sound like much of a skeptic.
No, I?m not. I give everything a chance. I guess it?s because I was such a fan growing up. Like I?d go to school and wouldn?t be afraid to say I liked Slade. They were kinda laughed at, but songs like ?How Does It Feel?? have this great melancholic quality to them. They sound very sincere about what they did. They weren?t educated in the higher schools of learning, and maybe weren?t as eloquent as other artists, but there?s a sentimentality to their music that hits a spot in me.

I?m always skeptical about the kids who always pick the same things. Like I love the Smiths, but when journalists started jumping on them, it was for all of the wrong reasons. Like their intellectuality. They?re intellectual bullies who can beat up a guy who?s less intuitive. If you ask me, everyone?s opinion is valid. Ab-so-fucking-lutely. We?re all in the same space trying to work it all out. It?s like John Lennon said, ?Your life is what happens when you?re busy making other plans.?

The culture of celebrity that we have right now is very trite and shallow, but we have a choice. We don?t have to watch any of it. If you don?t like Lady Gaga, you don?t have to listen to Lady Gaga. It?s okay. There?s other things.

You?ve moved around a lot over the course of your career. Where are you based at the moment?
I?m in the Beachwood Canyon part of California. I came here for the desert, the ocean, and the mountains. One of my closest friends, [producer/multi-instrumentalist] Chris Goss, is based in [Joshua Tree], so I?m planning on doing a lot of work there.

I spent three years in Manhattan, and before that I was in Vancouver and India. The perception of Los Angeles is that it?s this superficial, disposable place, but the reality of it is that it?s a sprawling metropolis and if you go past West Hollywood, all of a sudden you?re in very poor neighborhoods. It?s real life. I mean, the majority of people here are Hispanic. And they?re very humble. That?ll set you straight very quickly.

Ever since I?ve been a kid, I?ve felt like burning things down when life gets too comfortable.

You recorded the BXI EP in Japan. Did you decide to go there because it?d be more of a natural environment for Boris?
There was a discussion of bringing them here, but it didn?t make sense for them to bring their whole operation to New York when I was heading there anyway. I?m very grateful we got to work on it in Tokyo. It has a certain mystique and otherworldly-ness to it.

It?s a different kind of energy too, isn?t it?
It is. New York?s a bit crazier, but Tokyo has an ordered chaos to it.

You know what?s funny? When you ask New Yorkers?like hipsters from Brooklyn?about L.A. They?ll say how much L.A. sucks, and yet, they remind me of why I left L.A. the first time.

What do you mean? That stereotype of how superficial it is?
Absolutely. You can always find a kid on a fixed gear bike with a mustache, a little white v-neck T-shirt, some keys hooked onto their jeans, and a beanie. I always go, ?There?s that guy again! The twentieth one I?ve seen today.?

Were you living in that part of Brooklyn before you moved back to California?
No, I was living in the West Village.

[Falcon]

cont..

?When you hear that shit and smell the Tibetan candles, you think, ?This is what life should be about?.?
You realize that?s a big part of Boris? audience in New York though, right? The Brooklyn kids?
Yeah, but some of them go for the wrong reasons. For example, I went to see the [black-metal documentary] Until the Light Takes Us and there was a load of hipsters who clearly just came off the L train, looking like they just walked out of Urban Outfitters. I?m not one to judge other people?s fashion, but this gang of 12 kids laughed throughout the whole film. Which I thought was pretty sad. That movie affected me deeply.

That part with the Satryicon guy cutting himself was pretty intense.
Exactly. You have to get what they?re saying?that they?re not a part of McDonald?s, MTV or Lady Gaga; that they?re an extension of nature, with a pagan culture that worships the trees, the sun, and the mountains. The poet Robert Bly said it best when he said that our problems began when we lost touch with wild animals. When I hear a statement like that?by an older guy in his eighties now?it breaks my fucking heart.

Is that one of the main reasons you moved back to California? To feel more in touch with nature and your surroundings?
To be honest with you, the city was doing my head in. I was a refugee, though. I had nowhere else to go. I mean, it was great at times. Like when I walked out of my house and Sam Shepard was standing outside. Another day I bumped into Patti Smith in the street. That?s fantastic.
Morrison was back then?

It must be sobering to see reservations first hand?
Right. Go ask your hipster friends if they?ve ever lived in the Rapid City area of South Dakota. The reservations are some of the poorest areas in the United States?human beings living in squalor. I?ve actually been working on a documentary down there. It?s such a precious culture. The Americas are a magnificent continent. It?s phenomenal what?s here in nature once you get out of the cities. I mean, why the fuck would you want to sit in a nightclub, shoveling cocaine up your nose in a nightclub and ordering Cristal? I?ve certainly had my fair share of narcissistic, hedonistic behavior, but I?ve balanced it off by losing it all and asking the questions, finding the elders, and looking to our teachers.

I?m writing something called Death of a Hipster right now and it?s semi-autobiographical, I think. The [BXI] song ?Magickal Child? is about a Korean model named Daul Kim. She killed herself in Paris two years ago. She was incredibly beautiful but she was also a great poet and amazing writer. So I was really fascinated with this beautiful person who?s objectified as one thing but they feel themselves to be something else?something much more delicate. She was only 20 years old when she died. It?s fucking crazy?

?Oh, I get the irony of it all. I get how the Cult may have come off as incredibly crass sometimes.?
Suicide has always been an issue in the fashion industry but some people have written about that becoming a bigger problem lately.
There?s this famous picture of Daul Kim where she?s wearing a leopard skin coat and she?s holding these two machine guns. She?s looking at the camera sheepishly but there?s something incredibly striking about it. She looks like some sort of exotic terrorist or something?a Baader Meinhof for the 21st century?but there?s also this little wounded 20-year-old girl in there. So I wrote, ?Your wounded guns point back at me.? It?s as if those guns were her only line of defense.

If we?re really honest with ourselves, are we really buying into the Pitchfork Media culture? The intellectual bully culture? I mean, I experienced that as a kid. I was on a TV show with Thurston Moore and Kim Gordon, had just bought Daydream Nation, and loved Sonic Youth. When they finished their interview, I said, ?Nice to meet you. I?m a really big fan.? And they walked off. When I went into the interview, the guy looked at me and said, ?Oh, well they just reviewed your video. They said, ?What was that??? And that really fucking hurt. It was the same kind of cold, intellectual bullying when I moved to New York and saw them at parties, too.

I don?t know what it was, although my friend said, ?Have you looked at yourself lately? Well, you don?t look like them.?

You look like a rock star instead?
Maybe. I mean, I was in Vogue magazine when I was 23 years old, but I don?t know what that has to do with it. I guess I had a skinny little ass when ?Fire Woman? came out, when I used to drink like a fish and fight like a maniac.

Hasn?t that always been the tough thing about your career? That you?ve never been alternative enough for the underground or straightforward enough for the mainstream?
Oh, I get the irony of it all. I get how the Cult may have come off as incredibly crass sometimes. There?s moments where it?s incredibly ironic.


While that may be true, you seem like the type of person who pursues a project because he really believes in it, whether it?s Boris, the Doors, or singing on a song for UNKLE.
Yeah, James [Lavelle] is a very private person as well. He doesn?t just invite anybody in the door. He?s like Stanley Kubrick?fucking precise about every fucking detail. He knows exactly what he wants. In fact, when I was singing ?Burn My Shadow,? he said, ?No vibratto. I want it like you?re talking. Just give me Ian. I don?t want the rock singer. I want the guy.?

?I wanted to see Guns N? Roses play on the same stage as N.W.A.?
How did you and Boris hit it off then?
There was a lot of talking with Stephen [O'Malley] and Greg [Anderson, of Sunn O)))] at first. You?ve got to go through a lot of layers to reach the inner sanctum of Boris. I approached their agent first?about five years ago. So they kinda knew about my love of the band already, and when I met Greg and Stephen at a Sunn show last year, they kind of brokered the deal. I think Boris approached me first about the project, which shocked me.

Was the music already done when they approached you?
Pretty much, aside from some overdubs. They sent me 10 pieces, so I picked four and lived with them for a while.

Was their cover of ?Rain? recorded yet?
That came together later. They were adamant about covering it, which surprised me. I was like, ?That?s a pop song written by a 23-year-old.? But they said they really liked the song. And when I heard their version, I was blown away by it. I love the way [Wata] sings it, and was very honored that they wanted to do it.

You seem humble now, but the Cult was touring with some major bands back in the day.
I didn?t know what day it was for a while, because we were touring so much?playing shows with Guns N? Roses, Billie Idol, and Metallica was a totally different animal.

Guns N? Roses opened for you, right?
Yeah, at my insistence. And then there was the whole Gathering of the Tribes festival, which was my idea and Bill Graham helped put on.

You lost a lot of your own money on that, didn?t you?
About $50,000, yeah. My business is being creative; I?m a terrible businessman beyond that. It was an altruistic venture?a Monterey Pop Festival for this generation. Hip-hop wasn?t even on the map in 1990, and I wanted to see Guns N? Roses play on the same stage as N.W.A. The festival was 10 dollars?

Ten dollars?
Yep. Fourteen acts for 10 dollars?Public Enemy, Iggy Pop, Soundgarden, Ice-T, the Cramps, etc. etc. Mark Geiger, an agent for Jane?s Addition and Stone Roses, was advising people not to do the event because they weren?t involved. Anyway, he went on to start Lollapalooza with Ted Gardener and Perry Farrel, strangely enough. Which was kinda confusing, like, ?Did I start this?? It?s like when you host a party and get kicked out of your house.

I?ve been knocked down so many times, though. I?ve been laughed at, ridiculed, pissed on, stabbed?all of it. But I love music. I love culture. I was at the Die Antwoord concert the other night actually?The second I saw their video, I thought, ?This is brilliant?every last bit of it.? It?s like America through a filter thrown back at America?really fucking fresh. But as the story often goes, they got signed to Interscope and brought to L.A. for their ?big show? and it was kinda a flop. I thought a litany of insider-y L.A. folks would be there, but only me and Andy Samberg showed up. That was it. And I?m not exactly part of the Who?s Who right now, so it was basically just him, some goth girls, and guys in Affliction T-shirts.

Meanwhile, the record execs upstairs are all like, [In a mocking American accent] ?This is really great. Hey, this is really hip.?

 
Sunn O))) @ Brooklyn Masonic Temple

That?s pretty ridiculous. Speaking of shows, I?d love to hear about the first time you saw Sunn play.
The first time I saw them was about a year ago. I remember a lot of young men standing around reverentially, waiting for them to play. And I met Stephen before the show and was just gushing, like, ?I love you guys.? The atmosphere inside was great because it was an old Masonic building and just looking at the amplifiers?the entire stage aesthetic?made it appear like a ritual was about to occur. Not a performance?a ritual. And once they came onstage, everything else melted away. It felt transporting, otherworldly, and profoundly empowering.

I got Black One in 2005 and I remember driving around downtown L.A. in a Mustang Cobra with tinted windows and that record on. It just fit perfectly. The way the car was vibrating and it was working with everything around me felt like a religious experience.

Not quite the record you?d expect someone to blast while speeding through L.A.

[Falcon]

Looks like there's release info coming shortly:

From The Cult's twiiter:

THERE WILL BE AN UPDATE ON CAPSULE 1 FOR POINT OF PURCHASE AND CONTENT HERE LATER TODAY .......

[FunkyMonkey]

Looks like there's release info coming shortly:

From The Cult's twiiter:

THERE WILL BE AN UPDATE ON CAPSULE 1 FOR POINT OF PURCHASE AND CONTENT HERE LATER TODAY .......

Thanks, it's been posted now.

CAPSULE ONE NOW AVAILABLE LIMITED VINYL + DUAL DISC CD/DVD @ http://www.cultcapsulestore.com/

[Falcon]

Revamped official site launched today, take a look here:

http://thecult.us/main/

L'America Phase 1 Tour dates:

http://thecult.us/main/shows/

Phase 2 dates to follow shortly.

L'America tour opener tonight in San Diego is being recorded and distributed via USB and available for order here:

http://musicusbwristbands.com/cultcapsule/index.php?main_page=product_info&products_id=4&zenid=1eec2dd527139828ecac2d4d7dcf5921

[Falcon]

A cool interview with Billy Morrison regarding the event he's organized honoring the great Matthew Ashman benefitting the Diabetes UK Foundation can be read here:

http://www.adam-ant.net/mattgig.html

[Falcon]

thanks to buxxdog and www.cultcentral.com for the following:


Not in any particular order here is the set list from SD 9/14/10:
EMAWIAS
NYC
The Phoenix
Sweet Soul Sister
Rain
White
******NEW SONG "Embers"******
Spiritwalker
Nirvana
Sanctuary
Wildflower
Sun King
Fire Woman
Rise
ENCORE
Lil' Devil
Love Removal Machine

GREAT SHOW! GREAT VISUALS! The band was on it from the word go! Lots of Merch, BUT NO VINYL of the new capsule. I guess they didn't have it ready for date number one. They should have the vinyl for the other dates however. I did get the capsule on CD at the show and cannot wait for number 2. Ian has obviously been checking the message board and seeing all of the complaining regarding the capsule. He stated from the stage that they don't have a label anymore and that they are doing this on their own and that they are well aware that adjustments need to be made regarding logistics. However, for those that can't deal then Ian said the capsule isn't for you, don't buy it. Ian went on to say that Hey it's NEW material what else do you want? I am paraphrasing, but that was the basic idea. As for the venue it wasn't the greatest thanks to the security, but we did our best to behave. Anyone that doesn't want to go due to a venue reason is really going to miss out. This show flat out rocked and did not feel as though the band were just going through the motions. It is probably one of the best shows I have seen them do in about 8 years! Get out there and support them they are truly worth it! The Black Ryder were good too kind of a cross between Mazzy Star and The White Stripes. BUZZDOG OUT!

[Falcon]

BXI interview from last week in NYC:

http://www.youtube.com/watch?v=hl24c-mfp-s&feature=player_embedded

[Falcon]

"Capsule 2" is due out in November, official news to follow shortly

[Falcon]

Lot's of vids from last night in San Diego are up on youtube...

Higlighted by:

EMAWIAS : http://www.youtube.com/user/themosh1#p/u/1/D5EIqwHAFgY

New York City - http://www.youtube.com/user/themosh1#p/u/0/tFIQqXDTz44

Duffy's tone is flat out sick..