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Prior to forming The Cult, vocalist Ian Astbury founded the gothic rock band the Southern Death Cult alongside guitarist David Burrows, bassist Barry Jepson, and drummer Haq Quereshi. In December 1982 the band issued their debut double A-sided single “Moya”/“Fatman” and were attracting audiences of up to 2,000 people by their fifth live gig. Following a slot opening for the band Bauhaus, Astbury disbanded the group after reading too many positive articles about them in music periodicals.
By 1983 Astbury had formed Death Cult with guitarist Billy Duffy, drummer Ray Mondo, and bassist Jamie Stewart and released a self-titled EP that summer. With fears of being associated as a gothic band, in 1984 Death Cult became The Cult, boasting their brand of hard rock with punk/psychedelic influences. The band’s debut full-length “Dreamtime” arrived later in 1984 peaking at No. 21 on the UK Albums Chart. The record was led by the single “Spiritwalker”, earned favourable reviews from the musical press, and introduced Astbury’s interest in Native American issues. Prior to touring in support of the release The Cult recorded five songs at Maida Vale 5 studio for Richard Skinner of BBC Radio.
The Cult’s fourth single “She Sells Sanctuary” was released in May 1985, peaking at No. 15 on the UK Singles Chart. By this point Mark Brzezicki had arrived as the group’s new drummer and the band were putting the final touches on their sophomore album. 1985’s ”Love” arrived in August strongly rooting their music away from punk towards 1960’s psychedelia. The album charted well peaking at No. 4 in the UK, and sold impressively throughout Europe, Australia, and the U.S. In support of the release The Cult embarked on a worldwide tour with new drummer Les Warner, during which time the band released the subsequent album singles “Rain” and “Revolution”.
Despite initial recordings not satisfying the Cults’ members, re-recordings in New York with producer Rick Bubin produced positive albeit much heavier results. The 1987 album “Electric” was led by the No. 18 single “Love Removal Machine”, cementing the Cult’s devoted following in the UK and augmenting one in the U.S. The Cult’s fourth full-length album “Sonic Temple” was recorded with Astbury and new drummer Matt Sorum, and represented the group’s most successful release to date. Earning gold certification in the UK and platinum in the U.S., the album’s Top 10 U.S. single “Fire Woman” led to the band touring with Aerosmith, Soundgarden, and Metallica.
With Mickey Curry added on drums and Charlie Dayton on bass, the Cult released their fifth full-length “Ceremony” in 1991. Despite the sales of its predecessor, the Cult project was splintering behind the scenes, and following the release the band took a three year hiatus. The compilation “Pure Cult” arrived in 1993, as did a new rhythm section featuring former Mission bassist Craig Adams and drummer Scott Garrett. Following a disappointing self-titled album in 1994 the band once again took a hiatus with Astbury forming the Holy Barbarians” in 1995.
Astbury, alongside Matt Sorum, Duffy and Martyn LeNoble appeared as The Cult in June 1999 at the Tibetan Freedom Festival. The group later crafted the album “Beyond Good and Evil” in 2001, “Born into This” in 2004, and “Choice of Weapon” in 2012.
Críticas en vivo
The Cult will probably always be most closely associated with the eighties; back then, they came over like The Cure’s more brazen, no-bullshit cousin, with a take on gothic rock that was always more concerned with image and sound than any real thematic preoccupation. Frontman Ian Astbury, too, gave Robert Smith a run for his money in the make-up stakes, and continues to prove a considerably more energetic presence on stage. Outwith that decade, though, they began to struggle, and have been on-again, off-again ever since 1995, when they initially split. Their first reunion, in 1999, saw them drop a well-received new record, Beyond Good and Evil; ten years later, though, Astbury had taken to being altogether more cautious about their future, declaring that no further new material would stem from the reformation. He’s gone back on that promise, though, with Choice of Weapon released two years ago to a strong commercial showing in the United States and Canada, and another largely agreeable reception from rock critics. Whilst the Bradfordians prep another new LP, due later this year, they’re touring their classic 1987 album Electric in its entirety; expect them to flesh out the set with other classics, too, like ‘She Sells Sanctuary’ and ‘Revolution’, before they go out in support of their next album in 2015.
Joeg_67
The Cult is opening on this leg of the G 'n R tour. I was super stoked when I heard that. The show I saw was in the Cowboys' AT&T stadium, which is monstrous with less than stellar accoustics. The place was about half-full when The Cult started their set. You could tell Ian was not thrilled about the folks up front that were texting instead of trying to enjoy the music in front of them. He made several comments along those lines. But the band still sounded great. I would actually say it was easier to understand Ian's vocals with less amps behind him than it was to understand Axl with a wall of power behind him. As more people came in and the beer had been flowing, people were getting into the music. The last two songs She Sells Sactuary and Love Removal Machine had everybody engaged. Billy Duffy seemed to feed off that better energy, too, as he began windmilling ala Pete Townsend. They definitely did not disappoint but I think they are better suited for more intimate venue where they can connect more quickly. I would see them again in a heartbeat.
bbb4ut
It seems rather fitting to have described British hard rock outfit The Cult as a cult phenomena following their incarnation in the early 80s. The group has now cemented its place on the circuit and despite infrequent breaks in their recording and touring schedules, as of late they are intent on performing to the devoted fanbase who continue to sell out their tours in force.
No longer described as cult, despite the band name, the venue is packed this evening with fans of the group's long discography. They are not disappointed as the quartet takes to their instruments looking energised and intent as they grapple with a first set made exclusively of the 'Electric' album. The second half is far more about showcasing the very best selections of their discography and features the new classics of 'She Sells Sanctuary' and 'Rain'. These are of course received well by the vocal crowds and simply spurs the group on to throw themselves further into the instrumentals. An encore of 'Horse Nation' and 'Sun King' is a fitting end to a rambunctious, nostalgic evening.
sean-ward
I am sorry to say, as a fan of the group since the 80s and watching them live several times I was very disappointed will the singer's Attitude, he seemed so much up his own Arse and arrogant. Spitting on stage. Someone has to clean up!! There was a lot of drinking and dangerous mooshing going on, several girls left there place at the front as they were fearful for there safety . I stayed at front till 2 songs from the end. I was getting badly hurt being pushed against the barrier. What I thought was a absolute disgrace was the singer told the crowd that in a crowd of Six thousand it's stupid putting yourself in danger( hinting at me) and if they don't like the rock way then they should not go to gigs!!? I pay the same as the drunk spaced out individuals who want to cause bother.why should not I expect to be safe? I'm not a fan of them now because of this attitude. music was great, cello and violin at one point with invited musicians. Such a shame the night was spoilt for me and other weaker folk.
maria-lambert-2
The Cult is the reason for my becoming a dedicated musician in 1985. I finally saw them in 2003, it was a huge moment for me but I can admit being a little underwhelmed by the lack of energy on the stage. Sloppy and a bit boring. Fast forward to last night and the difference still has me singing Wild Flower, their opener. They were fantastic! As soon as they walked on-stage their confidence and sound took command and I realized that THIS was what I had been waiting for. The crowd was great, the setlist impeccable, and the chemistry of the Cult very solid. Even Billy Duffy took the mic at the end to express his appreciation for the audience, so I know that they had a blast, too. It really showed!
johnny-wall-1
Right from the off, Astbury was stamping his war dance in a Jim Morrison style as Billy Duffy stood, legs spread as far as possible, firing out a howling solo on his iconic white Gretsch guitar. Rain's towering melody got the crowd jumping as they switched between songs from the new album and old classic’s. Tracks like Fire Woman and Li'l Devil kept up the momentum, with Astbury's voice sounding as primal and defiant as ever. It started off massive and just built from there to an amazing crescendo. Absolutely Brilliant
trevor-atkinson-2
Saw them once at The Brixton Academy in the UK around Nov 1987. Being an American 15 year old at the time on holiday in the UK at the time, and it being my first real concert, it was an amazing experience. Great memories of them rocking out hard with Billy Duffy crushing the guitar solos. Somehow I remember the opening bands too: crazy pink revolver and Balem and the Angel. Great times. hope to make the wellmont show in NJ. Soundtrack of my youth.
familyguy1
A great show/performance, considering the venue. The River Cree Edmonton, really needs to look and evaluate their room to improve the sound and lessen the '60's/'70's issues of echo feedback, as voiced by Ian Astbury.
With that said, the group delivered a very, memorable rockin', enjoyable performance. I have been a fan from the beginning, well, since 1984 anyway. Still a great fan and deservedly so. ;-)
michael-lestar
Review?
The entire show was cancelled 50min before the doors were supposed to be open.
The place was locked down and dead upon arrival at 6pm. Not a sole in sight. No
equipment out back..nothing. Total bust.
We were extremely skeptical from the start and it pretty much ended with a
fizzle as we expected.
No love for the NILE and it's related clubs.
chrissacook
Best gig I’ve been to in a while, really slick sound and loads of energy. Ian Astbury’s vocal was incredible had the audience jumping through a succession of crowd-pleasers. I didn’t catch the first act but Yonaka put in a great support-act shift but the Cult were in a different league to many bands I’ve seen this year and I’m looking forward to the next time
david.w.long
