THE CULT ELECTRIFIES
Some bands politely ask an audience to pay attention to their music. The Cult demand it. No pussy-footing around. They give a brutal wake-up call to those comatose from too much middle-of-theroad. No bubblegum or lollipops for this band. They’re in this rock ’n’ roll for real.
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THE CULT ELECTRIFIES
Some bands politely ask an audience to pay attention to their music. The Cult demand it. No pussy-footing around. They give a brutal wake-up call to those comatose from too much middle-of-theroad. No bubblegum or lollipops for this band. They’re in this rock ’n’ roll for real.
But there’s something familiar about them. Lead singer Ian Astbury has a commanding presence onstage with his penetrating stare and long hair as black as his leather pants. A voice so rich and melodic and yet disturbing. You’re hypnotized. He’s rude, crude, funny and never boring. One might think of him as a
new Jim Morrison by the way he moves and the words he sings.
Astbury feeds off the energy of his audience, inciting them to get out of their seats and dance all night. Make noise. Make a statement of your own.
Astbury has stuck with the Cult, determined to make it a success although the band has gone through many transitions. In 1982 in England, he formed an outfit called the Southern Death Cult who released a hit single and had a tremendous following. But by the beginning of 1983, they split up.
He teamed up with guitarist Billy Duffy
and formed the Death Cult with two new members: bassist Jamie Stewart and drummer Ray Mondo. An EP, Brothers Grimm was released and hit #2 on the indie charts before the departure of Mondo and the arrival of drummer Nigel Preston. In 1984, they shaved the name to the Cult, and set out to conquer the world.
If the Southern Death Cult were known for their flamboyant American Indian imagery (a favorite topic of Ian’s), their percussive drama and passionate energy retains a fiery outlook. They were interested in a more Gothic sound, full of atmosphere, textures and interal contrasts.
It was on their debut album, Dream Time, that their scope and potential broad appeal became patently possible. The band toured constantly, all the time getting tighter and more in control of their musical direction. Only one more personnel change was to come with the addition of new drummer Les Warner, who’d previously played with many artists including Julian Lennon.
What earned the Cult attention outside of England was the song "She Sells Sanctuary.” The song did so well on the British charts, they put together a new album called Love. They came to America in 1986 on a major tour and were presented with the American College Radio Single of the Year award for “She Sells Sanctuary.”
On Love, the band was criticized for looking and sounding too much like Led Zeppelin and Jimi Hendrix. Astbury responded by saying he didn't even know who Hendrix was until two years before.
After the tour, they started recording, but weren’t happy with what they were doing. They finished it though, and went to New York to remix a few songs with Def Jam producer Rick Rubin. The Cult was so impressed with Rubin, they scrapped the album and re-recorded it with him.
Electric was the result, an album that gets straight to the heart of the matter; a simple direct and extremely powerful rock ’n’ roll record. They let their influences show proudly—like Zeppelin, AC/DC and Motorhead—and the album is now heading for the Top 20 of the American charts. The first single, “Love Removal Machine,” already a #1 dance track, should follow the same route. The Cult have been on tour with Billy Idol, unleashing their rock ’n’ roll assault on a larger scale.
Watch for the Cult. Whether they sound like someone you’ve heard for years or not, they command your attention. You can’t ignore it.
Sharon Harrow
