The Cult

[Falcon]

Buffalo review:

http://www.buffalonews.com/entertainment/gusto/concert-reviews/article236118.ece

Cult rocks packed Town with acid set

By Jeff Miers
Published:
October 30, 2010, 12:00 AM
 
Legend has it that, after his band changed its name from the Southern Death Cult to simply the Cult ? and set about embracing a decidedly non-punk blend of psychedelia and hard rock in defiance of the prevailing punk ethos of the day ? some hooligan happened upon singer Ian Astbury in a London street and punched him straight in the face. The message being, ?You?ve sold out, mate.?

If this isn?t true, it should be. And bless Astbury and his musical partner Billy Duffy for possessing the fortitude to know which river runs deep, and which runs out of water.

On Friday, before a packed Town Ballroom, Astbury described the Cult?s sound as ?acid rock.? Who?s to argue? Huge riffs that steer clear of Neanderthal posturing, instead embracing a sound that would?ve fit on the Sunset Strip circa 1969 ? with a little more distortion and heft, surely ? are the band?s stock in trade. And Astbury didn?t get the call from Doors founders Ray Manzarek and Robbie Krieger for nothing. If anyone can ?do? Jim Morrison in a manner that steers clear of pandering and posturing, it?s Astbury, as his stints with the new Doors have proven.

As one of the greatest post-?70s rock frontmen, Astbury stands pretty close to alone. Chris Robinson from the Black Crowes has done some amazing work in this general area, but Astbury?s broad vibrato and deep, sensual vocal tone set him apart. He sounds like he listened to Morrison, certainly, but he does not sound like a Morrison clone. Big difference.

The Cult?s commercial heyday went the way of people actually purchasing ?albums? with money. Anyone who knows, knows this is the genuine article, and anyone who knows in Buffalo was at the Town on Friday.

Recently, the band ? founders Astbury and Duffy, with the able ?hands on deck? provided by bassist Chris Wyse, drummer John Tempesta and rhythm guitarist Mike Dimkich ? has commenced releasing its new music via what it calls ?capsules,? available for download on the band?s Web site. Friday?s show started with one of these new songs, the sultry ? and incredibly loud, visceral, walloping, too ? ?Everyman and Woman Is A Star.? From the start, Astbury ? dressed in leather and black jeans, with his hair fully grown out and an ?LA Woman? beard in full effect ? brought the crowd into his personal conception of groove. This involved a full capitulation to acid rock?which means, essentially, that the Zeppelinesque nature of the attack is run through a soft, hazy filter. Like Angus Young wearing tie-dye. Or something.

The new song led swiftly into a succession of classics, among them ?Rain? ? heavenly, and well appreciated by the full house ? Sweet Soul Sister? (the song Guns ?n? Roses wished it could?ve written), ?Illuminated? (Mojo risin? in full effect) and ?Sun King.?

Throughout, Astbury seemed to be possessed by some strange mixture of sweat-lodge euphoria and pure rock swagger. This was amazing to behold, and underscored at every turn by Duffy?s wah-wah-inflected, post-Mick Ronson solos, all of which were delivered with a muscular conviction. This band played like what it is ?an important one that, sadly, is often overlooked when stock is taken of bands that emerged from the ?80s. That?s OK. Maybe, as Morrison once slurred, the men don?t know, but the little girls understand

[mrlee]

i dont like to hear Cult members label their sound because its hard to label them as anything other than "a rock band" due to the variety of styles they have covered. Ive never thought of them as Acid Rock.

Anyway, i dont think even they can make their mind up, just watch that sonic temple interview where Billy is like "its not good for heavy metal, we are a heavy metal band arnt we Ian?"

[Falcon]

i dont like to hear Cult members label their sound because its hard to label them as anything other than "a rock band" due to the variety of styles they have covered. Ive never thought of them as Acid Rock.

I wouldn't put any stock in his comments, it's just Ian being Ian. 

Same with BD back in the Sonic Temple era, both tongues planted firmly in cheeks then and now.

[Falcon]

The Cult's new single "EMBERS" from their "Capsule 2" release available exclusively through ITUNES for the next 2 weeks:

Purchase here:

http://itunes.apple.com/us/album/capsule-2-itunes-exclusive/id401466848

And..

A FREE download of "WHITE" recorded live in Houston, TX 10/1/10 can be downloaded here:

http://aderra.net/Cult_download.html

[FunkyMonkey]

Setlist from last night in Chicago, the first date of Phase 2 of the "L' America Tour":

1- Every Man and Woman is a Star
2 - NYC
3 - Phoenix
4 - Rain
5 - Sweet Soul Sister
6 - White
7 - Illuminated
8 - Sun King
9 - Nirvana
10 - Spirit Walker
11 - Embers
12 - Rise
13 - Firewoman
14 - Wildflower
15 - She Sells Sanctuary

Encores
17 - Lil' Devil
18 - LRM

A few good videos from the show:

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

http://www.youtube.com/watch?v=qmWBQu1NyG8

Quality not as good -- "Embers"

http://www.youtube.com/watch?v=iKQRyRtIQ4o

Photos: http://iknowjack.radio.com/2010/10/29/exclusive-the-cult-live-at-the-vic-theatre-10-29-2010/#photo-1

[Falcon]

A new Ian interview:

http://thesilvertongueonline.com/?p=18856

[FunkyMonkey]

A new Ian interview:

http://thesilvertongueonline.com/?p=18856

His interviews are always SO long.   It's a good interview, I thought these were interesting...


TST: Was there any trepidation switching over to the Capsule format, instead of adhering to the norm of album tour, album tour??

Ian: Oh yeah, we feel like albums have become cannibalized. Touring, it feels like the audience has entitlement because most artists come through often, and there are special artists who don?t come through ever. Now, there are so many artists on the road, so the actual idea of going to a concert is commonplace. So, engaging the audience based on the content you?re putting out as you tour, it forces the artist to work harder. You get to show them what you?re actually creating. We aren?t looking for a hand out from any record label or benefactor to sort this out for me, we?re doing it ourselves. We?re open to the idea of perhaps making another studio album, if it arises. Right now, we?re really focused on the Capsule format and the film elements.

TST: I do believe that the Cult has the fan base to work with the Capsule format.  And the extra things about the Capsules is the live songs and the remixes. Do you see this catching on with Cult fans?

Ian: One thing is formatting, but the quality of what goes into the Capsules is what matters. I mean, some of our fans have been complaining about the live tracks, like why are there live tracks? Well, those live songs have been performed with the full integrity that goes into recorded works; they?re not put there for padding. It is put there because we believe in this music; it gives you an opportunity to see the different live performances and the different interpretations of the music.

In regards of the value of our music; we value our music. We don?t think that music should be given away for free. You don?t go to McDonald?s and be given a free hamburger, you know? Can?t walk into a gas station and get free gas. A lot blood, sweat and tears goes into the creativity of the music, and I don?t subscribe to this current desperate industry panic mode of giving away music for free, nobody asked the artist, and I feel that is incredibly irresponsible.

It?s not just about the artists, there?s an entire community that the entertainment industry supports. So, we?re living in a type of society where we expel more music. I understand ripping some things, maybe sharing them with your friends, but the industry is in a freefall, and in a way it?s a very dangerous place.  The middle ground and marketing man is more interested in marketing pop. The arts are not supported the United States, so you?ve got to roll up your sleeves and come up with your own solutions, and part of our solution is the capsule format.

TST: With all your collaborations, Messiah, Tony Iommi, Unkle, Slash and Boris, which has been your favorite?

Ian: They?re all different. The work with Unkle was very gratifying because I introduced James to Chris Goss, who produced the whole War Stories album. So I feel like I had a hand in that particular project and recorded and wrote two of the songs, one being Burn My Shadow. Obviously, the Boris material (Magikal Child) is very fresh. I think Magikal Child and Burn My Shadow are very important songs for me.

It?s like trying to pick your favorite kid, you know. I have affection for all of them, Slash as well. I have known Slash for twenty years, and when Slash picks up the phone and ask you to come in the studio, you don?t say no. You don?t say no to Slash, you know?

[Falcon]

More from IA here:

http://www.noisecreep.com/2010/11/02/the-cult-capsule-2-new-album/?a_dgi=aolshare_twitter

The Cult, one of the most enduring rock 'n' roll bands of their generation, are embracing the future. Instead of writing and recording a new album and releasing it traditionally, the band is releasing music in bite-sized capsule form on Nov. 16.

'Capsule 2: New Blood Deep Cuts' features new songs 'Embers' and 'Until the Light Takes Us' -- which discerning metalheads will recall is also the title of a compelling black metal documentary -- as well as live recordings of the band's hits. It also allows a look into the Cult's rehearsal space. The capsule release format spans multiple media formats, including vinyl, digital, USB, CD and DVD formats.

"It's been well-documented that there is no music industry anymore," vocalist Ian Astbury told Noisecreep. "We've had to up our game. The idea of an 'album cycle' that we grew up with becomes stale, and you are on automaton. The capsule is a way of doing it more guerrilla. It means we have to be more attentive, but there is no wiggle room. It's like live acting -- there is no safety net, so it has to produce results."

The 'Capsule 2' songs were produced by Chris Goss, whose r?sum? boasts Queens of the Stone Age, and Astbury himself said the songs are mix of "violent guitars, emotive vocal performances with high melody and driving beats. Textured metaphysical rock music for the contemporary music head."

Astbury reluctantly referred to Goss as the "godfather of stoner rock," which allowed the Cult to be fed through a different filter. He dubbed 'Embers' one of the most "intimate and romantic" moments of the bands career, saying "the room and time stops when we play it live. We are building intimacy. It's not all Marshall amps and violent amplifier worship."

Astbury was inspired by the fashion community's capsule collections, which are a handful of pieces that are often collaborations with other designers. He also has been documenting band experiences with a camera.

The Cult are currently on tour. Those fans attending the show are afforded the unique opportunity of leaving the venue after each of the Cult tour dates with a full recording of the show on a USB flash drive, so they can relive their experience with the Cult over and over and over again.

[FunkyMonkey]

THE CULT Frontman: 'We Don't Think That Music Should Be Given Away For Free' - Nov. 5, 2010

The Silver Tongue recently conducted an interview with THE CULT frontman Ian Astbury. A couple of exceprts from the chat follow below.

http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=148913

[FunkyMonkey]

From an interview with Ian Astbury, here is just some of what he says regarding the "capsule"...

Q&A: Ian Astbury of the Cult

November 10, 2010

We decided in this particular point in time, why don't we try to do something ourselves/ Engage in our audience a lot more immediately, a lot more intimately. Really start to work with our social networks and in terms of our music, go in the studio, come up with songs, bundle it with two live songs that are current and also a visual element, a film element and release them in all formats. It's not an EP because an EP is an elongated play. It refers to a vinyl format. It's not just an EP vinyl format. It's not. There are visual elements, and it's released digitally. It encapsulates all formats as well as different elements aural and visual.

I'm just fed up with technology. I'm fed up with applications. I'm fed up with new format. I don't want another iPad. I'm just bored with these things. I've finally gone back to pen and paper. The whole thing about what we're doing, it's more guerilla. It's more DIY. It's more in line with our punk rock roots. The way the album is cannibalized, you put your heart and soul into your body of work. You put it out and it's picked through and Pitchfork gives it a 4.7 rating and then you're done. Bye.

By controlling how we release our music, we're controlling the environment and holding the space. OK, we've given you that, digest that. Here's another piece It's like spoon feeding. We'll give it to you on a need-to-know basis. Maybe by the end of the whole cycle, we'll look at it like, "There's a body of a whole album here." But we'll see.

Continue here: http://www.soundspike.com/features/tour/1019-the_cult_tour_q_a_ian_astbury_of_the_cult.html

[FunkyMonkey]

THE CULT Frontman: 'I'm Just Fed Up With Technology. I'm Fed Up With Applications.' - Nov. 11, 2010

Soundspike.com recently conducted an interview with THE CULT frontman Ian Astbury. An excerpt from the chat follows below.

Soundspike.com: Tell me about the release of the capsule. That sounds like a pretty innovative idea.

Astbury: It kind of came out of necessity and it kind of came out of self-awareness in the sense that you kind of get stuck on the album-tour cycle, which is the formatting of an old traditional industry that is no longer in place. ... I find that there's a lot of innovation in fashion. Seeing more and more capsule collections being released, especially in streetware, especially in Japanese subculture. You see more and more collaborations whereby you see two major brands or two major artists collaborate and they do a small collection together. Instead of doing a 200-piece fashion collection, they do like five, six pieces. It comes out, and it's available for a month or so, it disappears and then something else comes up. It's kind of exciting. You can see what new things are coming up. It's fresh and it's not stale. It doesn't hang around too long. I thought, "I wonder if that could be applied to music?"

We were kind of offered another record deal. It was another record deal where we could own our music. They were going to give us a very modest amount of money to make an album. Then we'd probably get the same lip service that we get ? they work with you for six weeks and then you disappear into their roster of artists that they don't know how to work with and develop. We decided in this particular point in time, why don't we try to do something ourselves ... engage in our audience a lot more immediately, a lot more intimately. Really start to work with our social networks and in terms of our music, go in the studio, come up with songs, bundle it with two live songs that are current and also a visual element, a film element and release them in all formats. It's not an EP because an EP is an elongated play ? it refers to a vinyl format. It's not just an EP vinyl format ? it's not. There are visual elements and it's released digitally. It encapsulates all formats as well as different elements aural and visual. Interestingly enough, as we're developing this, we're being courted by some companies. The application will be the delivery system for the future, whereby you subscribe to a band's application and everything will come through the app. We're going to see within the next year ? Samsung is releasing a television set that has apps on it. You flick on your TV and it'll come up like your phone or your iPad or whatever it is. Wherever you have your apps. You'll be able to do it from your home. The apps will come up on the screen. You'll have a huge, 52-inch screen. You can sit there and interact with your favorite artists. How many applications can we go through? There's something like a half million applications.

Soundspike.com: There's a ton of them, that's for sure.

Astbury: Oh my God. Ninety nine point nine percent of them are completely unnecessary. It's novelty. To be honest with you ? certainly I know in my immediate circle of friends ? they're bored shitless with their applications. I'm fed up. I like buying a book now. I'm excited about buying a book. Or go back and watch old Russian films. I'm just fed up with technology. I'm fed up with applications. I'm fed up with new format. I don't want another iPad. I'm just bored with these things. I've finally gone back to pen and paper. The whole thing about what we're doing, it's more guerrilla. It's more DIY. It's more in line with our punk rock roots. The way the album is cannibalized, you put your heart and soul into your body of work. You put it out and it's picked through and Pitchfork gives it a 4.7 rating and then you're done. Bye.

Soundspike.com: That's true.

Astbury: No, no, no. We're not done. [Laughs] By controlling how we release our music, we're controlling the environment and holding the space. OK, we've given you that, digest that. Here's another piece. It's like spoon feeding. We'll give it to you on a need-to-know basis. Maybe by the end of the whole cycle, we'll look at it like, "There's a body of a whole album here." But we'll see. Some of these songs will probably evolve into other songs. The entire capsule will be available November 16. We're going to release the song "Embers" on iTunes November 1. That's a very special song. It's a very intimate song. It's incredibly cathartic. It's the moment when we perform that song live when the whole room stops. The song that sucks the air out of the room when we play it.

Read the entire interview from Soundspike.com.

http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=149229

[FunkyMonkey]

THE CULT: 'White' Live Recording Free Download Available - Nov. 15, 2010

Legendary rock band THE CULT is offering a free download of the track "White", recorded live in Houston, Texas on October 1, 2010. The remastered cut is a preview of "Capsule 2: New Blood Deep Cuts", which features new songs "Embers" and "Until The Light Takes Us", live recordings of some of the band's huge hits and an intimate look into THE CULT's rehearsal space, with a never-before-seen warm-up performance of "Black Angel".

Rather than revisit the traditional method of releasing a long form CD, the band is pioneering a new way of providing material. Capsules span multiple media formats including vinyl, digital, USB, CD and DVD formats, and can be purchased at cultcapsulestore.com.

http://www.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=149406

[justincrowe]

well, i gave in and downloaded capsules 1-2.

i like the new songs a lot. i think out of the four, "until the light takes us" is my favourite.

to me, it's kinda similar sounding as previous "alternative" cult releases (dreamtime, the cult, born into this), as opposed to "hard rock" cult (electric, sonic temple, beyond good and evil)... i usually prefer the latter, but these songs are cool.

chris goss's production is also worth pointing out, the songs sound really cool and crisp.

[Axlfanatic]

Raleigh /Lincoln Theatre Show Review- Incredible!

I was the bald guy who was first in with my 2 "normal" friends & 1 drunk ass friend who got called out by the female lead singer of the opening band Black Ryder- we were all in front of the barrier & was he was acting totally drunk & beligerent & about halfway thru her set she yelled "Hey you stupid drunk ass, SHUT THE FUCK UP!!! so i can finish my set!"- it was awesome!!! I really hope someone caught it on video because we were all completely caught off guard since she seemed pretty conservative.

I think Ian & Billy were in a bit of a grumpy mood since they refused to come off their bus for sound check & join the rest of their band- luckily one of my buddies had an inside connection so we were granted access- it was still cool & they sounded great- the only song i remember them actually playing during sound check was "Rain" & then they were just jamming & testing out the sound of the different instruments- anyway Their grumpy mood definitely affected their performance in a positive way that's for sure since they took out all their aggression on the stage. One of my favorite moments was when Billy first cussed out one of his sound guys then kicked over the mic stand in a rage, then one of the crew rushed over too pick it back up & he screamed "Leave it There!!" & kicked the mic stand over again. Finally the crew guy tried to get the Mic stand off the stage & Billy kicked it again! This time it fell into the pit & popped up right in front of me so I quickly took every single pick off the stand , handed a few out & kept the rest for myself- awesome!

This was simply the best & most intense show I've seen from The Cult since back in the day when they came to my college in 89' at the height of their stardom. They stuck with the slightly shorter set list of 15 songs but completely shredded thru their set! Every song sounded heavy as hell as they made their way thru their non-stop onslaught of thunder.Ian was as lively & energetic as I've scene & totally engaging.He turned his back a few times during a few solos while giving a huge middle finger & another time flashing the peace sign. During the 'White" solo ( which sounded incredible live by the way ) he stood bent over & held on to the microphone seemingly frozen in that pose for what seemed like an eternity.The end part of 'Love Removal Machine" was absolutely insane! Ian was dancing & stomping like a madman & Billy & the boys were just in an all out rampage- the crowd went absolutely nuts!! Actually the crowd was pretty nuts from the first to last note of the entire show- the mood was just electric- period! Thanks for an awesome show guys!!!

Also caught a drumstick & got a couple of set lists from the stage as well- luckily I didn't get the one in front of Billy since he hocked a huge loogie right on top of it- guess that summed up his mood for the evening!! :evil:

I filmed the first 4 songs from the front row which i will post soon on youtube.

Here's the setlist:

1. Every Man & Woman is a Star
2. NYC
3. Phoenix
4. Rain
5. Sweet Soul Sister
6. White
7. Lil Devil
8. Nirvana
9. Spirit Walker
10. Embers
11. Rise
12. Firewoman
13. Wild Flower
14. She Sells Sanctuary
-----------------
Encore:
15. Love Removal Machine

[mrlee]

Wonder why they were so pissed off?

[Axlfanatic]

Wonder why they were so pissed off?

Lol- I think their always pissed off actually- not sure what was up their ass in particular that day but according to our inside source Nothing would make them happy that day

[Falcon]

i like the new songs a lot. i think out of the four, "until the light takes us" is my favourite.

I like it alot as well, right there with "Everyman and Woman is a Star" as the strongest of the four new songs. 

It's PURE CULT for sure - riff driven, groove laden, melodic and catchy.

[Falcon]

The Cult will be featured on an upcoming episode of Guitar Center Sessions airing on DirecTV starting December 4th.

Episode info here complete with preview and flawless live version of "EMBERS" - Ian in strong voice and Billy being Billy, unbelievable tone.

http://gc.guitarcenter.com/sessions/

Still can't get used to him playing that Telecaster though...

[FunkyMonkey]

Episode info here complete with preview and flawless live version of "EMBERS" - Ian in strong voice and Billy being Billy, unbelievable tone.

http://gc.guitarcenter.com/sessions/

Nice performance video, thanks for posting.

Still can't get used to him playing that Telecaster though...

Are you going to have to change your user name now?

[Falcon]

Are you going to have to change your user name now?

Not a chance. 

I remember seeing them back in '95, he played a Strat on "Edie" and "Black Sun" live - I was mortified.