In contrast to their universally portrayed image as mysterious, incongruous, albeit imaginative rockers, they are, in fact, cynically raucous musicians with pile-driving personalities that are alternately refreshing and fascinating.
To hear the group speak, you would think The Cult is the band's first and only album. And if they are referring to the spiritual and intrinsic rebirth of The Cult's music then they are dead on target. "The Cult is closer to our Love album in style," explains lead singer Ian Astbury, "but the songs we have on this new release reflect far better where we are today." Echoing the sentiments, guitarist Billy Duffy points to the "brutally honest" framework of the songs, noting, "this is our true work. I don't really care if it's a commercial success. The important thing is that we made the album we're comfortable with."
That 'don't-give-a-f***' attitude is more tempered these days, but The Cult still plays by its own rules. They gave the industry albums that helped evolve music out of the pre-grunge punk era. But it was their own 'in-your-face' style and explosive rock energy that propelled them from underground clubs to rock stardom, earning the group their fair share of bashing from the critics, though this was more for their on and off stage antics than their recording abilities. "We were flush in arrogance," says Duffy. "We made it as an alternative band in England and wanted to conquer the U.S...in our own way!"
They never claimed to be cherubs and their music could not have affected a legion of weary youths had it not been patched with discarded pieces of their own shell- shocked lives. Ian and Billy make no apologies for living out their angst, but take issue with critics who fail to judge their music apart from their actions. Looking back, Astbury explains that some of their theatrics were done out of their own naive exploration of life.
Maybe so, but there has never been any theatrics with regard to their social and humanitarian commitments, often played out in song. Ian is adamant when explaining that the band never advocated violence, and that they abhor injustice of any kind. To listen to Astbury chronicle the Cult's highs and lows since its inception, you have a sense that the "demons" which permeated their lives are now reflected in their music and not their lifestyle.
To sit down with Ian and Billy and not be caught up in the energy of the moment is almost impossible. There's a threat of spontaneous combustion in the room as they rebound from one chair to another, trading jokes and friendly insults with the skill and finesse of a Wimbledon tennis match. They are a cutting-edge anomaly, Intimidating by reputation, yet warm in person. Highly personable, yet slightly distant. Tense and excitable, yet at peace with themselves and their philosophy.
In this setting, it's easy to sense why they've been so misunderstood over the years. And today, Astbury is more open and happy to set the record straight. "During The Cult's 'celebritydom,' I began to forget about all my philosophies," Ian explains. "After being forced to redefine my priorities, I had to go through the long process of getting healthy."
The Cult has been deservingly credited with being on the forefront of music's breakaway epoch of the late 80's, spiraling into the 90's. Their gritty sound and revealing lyrics established the band as a precursor to the innovative sound that was to emanate from Seattle's grunge gurus like Pearl Jam, Nirvana and Soundgarden. In fact, Astbury's early brainchild, a festival bringing together all the best of music's best kept secrets under the title of The Gathering of the Tribes, is now acknowledged as the forerunner of the contemporary Lollapolooza Tours.
Having set in motion a dynamic run of powerful albums, including Dreamtime, Love and Electric, the group hit Platinum with Sonic Temple, a release that critics signaled as the band's creative highlight. Following that pinnacle--as with most groups that attain seemingly overnight stardom--they soon drifted into turbulent waters, precipitated by the release of Ceremony. The album itself, although creatively powerful, didn't break any new ground in music, a trait The Cult had been famous for.
Earlier this year, after a lengthy absence from the limelight, the newly reborn band, with a slightly altered set of values, ventured back into the studio with aspirations of making the consummate Cult recording. When asked why they waited three years between recordings, Duffy simply responds that this album was actually thirty years in the making.
Ian agrees. "We're a lot more comfortable with ourselves today, but not more complacent. Some bands get in a certain niche and down the line become caricatures of themselves. Right now, we're really speaking with our voice. We've always been progressive...we've always pushed ourselves in different directions artistically and not been afraid to try new things."
Fronted by Astbury on vocals and Duffy on guitar, the Cult is also comprised of Craig Adams on bass and Scott Garrett on drums. Both Adams and Garrett are relative newcomers to the band. Adams, a gifted bass player, had long been friends with Ian and Billy; he was picked to fill in permanently when the opportunity arose. His musical background seemed to mesh ideally with The Cult's unique playing style. "We went through bass players who were technically equipped, but didn't have the creative backbone," explains Billy. "With Craig, we hit the right mix." With a sometimes stinging wit on stage and behind the scenes, Adams helps set the tone for a seamless working partnership.
As for Garrett, he's self-described as being "a bit breezier behind the scenes." Behind the skins however, Scott is a lethal rapid-fire drummer who started out in jazz and went on to ladle out doses of percussive funk, rock and punk over the years. His previous outings with groups like Pops Cool Love and Weapon of Choice eventually brought the D.C. native to the attention of The Cult.
Produced by Bob Rock, The Cult is a rock album stripped to the core, punctuated with lyrics that carry a magnitude of relevance. Songs such as "Real Grrrl" and "Star" press the issue of women in power and realizing their potential. "Coming Down (Drug Tongue)" bemoans the loss of innocence. "Black Sun" takes a hard look at abuse. "Universal You" about the power of youth and fresh ideas. "Emperor's New Horse" subscribes to holding up to responsibility, an issue Astbury feels strongly about. Other songs on the album include "Gone," "Naturally High," "Sacred Life," "Be Free," "Saints Are Down" and "Joy."
The Cult is the freshest album the group has produced to date. It seethes with tracks that explore the degrees of human experience and takes listeners on a journey that might touch more than a few souls.