Live and recent posts from across the Fediverse tagged #the-cult, aggregated by home.social.
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π΅ The Cult - Resurrection Joe (Long Version)
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π΅ The Cult - Rain
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π΅ The Cult - She Sells Sanctuary
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The Cult c'est de psych-metal-punk ... classé goth complètement à tord (au concert devant y'avait max de girls... vas comprendre...)
Les paroles de ce titre sont tellement simples, tu peux tout gueuler dans le dΓ©sordre, sous la douche, Γ§a marche quand mΓͺme !
(tu n'as aucune preuve que je gueule sous la douche...)
Wild flower !
I'm a wolf child,
girl, howling for you.
Wild flower !
I love you every hour,
Wild flower !
A Perfect Circle have shared new single βTo Whom It May Concernβ and announced an extensive 2027 North American tour with Puscifer and The Cult.
Details: https://metalinsider.net/video/a-perfect-circle-release-new-single-announce-2027-north-american-tour
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π΅ The Cult - She Sells Sanctuary (Long Version)
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π΅ The Cult - Rain
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The Cult - She Sells Sanctuary
The Cult - Love Removal Machine
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π΅ The Cult - She Sells Sanctuary
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The buffoonery yet #TheCult of #MAGAMorons will eat it upβΌοΈ
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π΅ The Cult - Rain
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π΅ The Cult - Wild Flower
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π΅ The Cult - She Sells Sanctuary (Long Version)
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π΅ The Cult - She Sells Sanctuary
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Though Iβve been aware of Australiaβs Airbourne and their unapologetic AC/DC worship for years, Iβd never listened to an album before picking up the promo for their sixth LP, Airbourne. Despite not being well-versed in Airbourneβs back catalogue, I spent years absorbing their main muse poolside, barside, and carside. Thus primed, I not only jumped into Airbourne, but the bandβs other five albums as well, immersing myself in their blues rock-infested waters. In the promo notes, Airbourne asserts this self-titled effort is their best one yet. Maybe, but we all know itβs a long way to the top if you want to rank βnβ roll. So does Airbourne leave us thunderstruck, or feeling like the bandβs just beating around the bush?
As on prior outings, Airbourne delivers reliably raucous tunes that wear their inspirations on the sleeve. βGutsyβ leads off Airbourne with a rowdy anthem that never fails to get my fists pumping and the floor thumping, and it plays like an amped up version of βHeatseekerβ as well as Airbourne openers βReady to Rockβ and βBreakinβ Outta Hell.β1 Itβs a well-constructed hard rock banger that captures AC/DCβs free-wheeling, scene-stealing antics, and I havenβt been able to stop playing it. βKid in a Candy Storeβ and βHells Got No Vacancyβ exude similarly compelling charisma, anchoring essential tracks throughout the albumβs runtime. The sleigh bells and holiday theme on βChristmas Bonusβ will quickly remind listeners of βMistress for Christmas,β and the tongue-in-cheek lyrics and straight-shot riffing recall moments throughout AC/DCβs discography. Despite all the references to Acca Dacca, though, Airbourne tailors the formula just enough to create music that stands alongside their biggest inspiration rather than completely in its shadow.
Besides adding a few other influences to round out their sound, Airbourne swells with infectious cock rock swagger. βAlive After Death (Last Plane Out)β thrums with The Cult-like energy, specifically recalling βFire Womanββs lascivious luster, while βRock N Roll Yaβ bites with Def Leppard teeth and βBogotΓ‘β breaks into Van Halen noodling, even throwing in some spoken-word shenanigans evoking βHot for Teacher.β Throughout Airbourne, the band showcases tight songwriting and instrumental prowess as they toe the line between arena-ready choruses and sweaty rock βnβ roll braggadocio. Singer/guitarist Joel OβKeeffe sizzles with Brian Johnson grit and Angus Young licks, capturing the one-two punch that makes AC/DC so damn effective. Joelβs brother Ryan mans the drums, loosing a workmanlike performance befitting famed pocket drummer Phil Rudd, while longtime bassist Justin Street locks in the low-end with no-frills grooves supporting the direct nature of Airbourneβs music. Newcomer rhythm guitarist Brett Tyrrell completes the quartet, complementing OβKeeffeβs lead lines with Malcom Young-like accents.
I imagine Airbourne would have been a juggernaut back in the 80s, and here they bring the olde ways to current days. Airbourne was recorded on tape, and though itβs polished, the album boasts an authentic crunch that sounds big and, in its best moments, dangerous. Glimpses of menace and originality flash often enough to make Airbourne exciting, yet I find that Airbourne takes too few risks in their songwriting. Although individual passages crackle with intensity, songsβ overall effectiveness gets dulled by the sense that the band is playing it safe, both by staying close to inspirations and earlier material. The lyrics also present a mixed bag, where cheeky double meanings are a delight, but other times can be too on-the-nose (βWho Put the Rhythm in Youβ). And while Airbourne mostly does a good job whetting tracksβ distinct identities, some moments blur together (βHere She Comesβ and βWho Put the Rhythm in Youβ).
Airbourne doesnβt supply any new experiences, but it packs enough fun to make time with it worthwhile. Singalong choruses, bawdy double entendres, and head-bopping, air guitar-inducing leads keep me coming back. After listening to their discography a couple of times to prepare for this review, Iβm not completely convinced that this is Airbourneβs best record yet, but it might be. Their first two albums evidenced a band establishing their sound, and the next two stretched the limits of what came before as they evolved their songwriting. Now seven years removed from fifth album Boneshaker, this foursome from Down Under breaks their silence with a rousing platter of hard-rockinβ heat that takes what came before and ties it all together. Whether youβre a longtime fan or just looking for fun new tunes, you wonβt regret getting Airbourne.
Rating: Good!
DR: N/A | Format Reviewed: Dirty Stream Done Dirt Cheap
Label: Spinefarm Records
Websites: Website | Bandcamp2 | Facebook | Instagram
Releases Worldwide: September 4th, 20263
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π΅ The Cult - Resurrection Joe (Long Version)
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π΅ The Cult - Wild Flower
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We don't play a lot of covers, but this song is just so cool to play.. playing your guts out.
Bringin' Home the Rain #BuildersAndTheButchers
https://youtu.be/gzDqCcTeSmY
Rainmaker #Machine
https://youtu.be/2QByx9NGxJ8
Summer Rain #JohnnyRivers
https://youtu.be/NjK2rlKyc4U
Raindogs #TomWaits
https://youtu.be/qVaEPx_VyXs
Bangkok Rain #TheCult
https://youtu.be/_QxMTCZ_bMo
Bonus: Crooked Rain Crooked Rain #Pavement
https://m.youtube.com/playlist?list=OLAK5uy_ngPzZYSVD0pqbnHT0o34Bp0pXZa1nMwkA&playnext=1&index=1
Mortiis has cut a swath through Norwayβs music scene since 1992, beginning as the inaugural bassist for black metal pioneers Emperor. When HΓ₯vard βMortiisβ Ellefsen realized the blackened arts werenβt for him, he swapped his bass guitar for a keyboard and embarked on a journey that, six years and six full-length albums later, left him a progenitor and βGodfatherβ of dungeon synth. Over the following vicennial, Mortiis explored other musical outlets, from darkened synth-pop to industrial rock and murky ambient before returning to his dungeon synth roots with 2020βs Spirit of Rebellion. After revisiting the genre he helped found, Mortiis releases his 11th full-length album, Ghosts of Europaβin part shaped by a subsequently abandoned collaboration with Stephan Groth (Apoptygma Berzerk)βto pay homage to old German electronica, especially Tangerine Dream and Klaus Schulze. Mortiis took those early recordings and embarked on a six-year journey to transform them into Ghosts of Europa. Will Ghosts serve as the harbinger of Mortiisβs greatness, or be cursed to haunt the darkened shadows of Norwegian mediocrity?
Ghosts of Europa is sexy, spacy, and cinematicβa synth-forward record that draws from each of Mortiisβs electronic erasβmoving from dungeon scenes to movie screens. Those familiar with Tangerine Dreamβs β80s βsoundtrackβ era,1 will feel that theatrical presence, in addition to early Enigma, Pink Floyd, and Dead Can Dance, in the windswept, dystopian synthscapes and expansive, Gregorian chant-inspired, Middle Eastern-influenced female wails of Ghostsβ more ambient moments (βReturn to the Old Fields,β βTranscending Morpheus,β βTribes of Dystopiaβ). When Ghosts of Europa shifts to straightforward, beat-driven electronics (βGhosts of Europa,β 2 βViolent Silenceβ) it taps a Depeche Mode and Kraftwerk vein. Still, other Mortiis Era II specters haunt Ghostsβ halls on tracks like βTundra, Heart of Hell,β an electro-rocker that channels She Wants Revenge and The Cult, just as βFarewell Romeroβ has a distinct Marilyn Manson feel to its slow, painful burn. Mortiis has reached the peak of his musical prowess, wielding a conductorβs control over his collaborators and delivering one of his most emotive albums.
Heaving with atmosphere, Ghosts of Europa punctuates its vast, sweeping sonicscapes with rich vocal textures and introspective lyrics. From the repetitive refrain βWhen we all fall downβ that dominates the opening title track to the chorus on βThe Faith That Fades Awayβ requesting βLeave me with my sins, leave me with my thoughts,β and on through βFarewell Romeroββs painful admission βI found a way to kill some of the pain, like a warm and cleansing summer rain,β Ghostsβ lyrics serve as an apology to the relationships Mortiis admittedly damaged along the way.3 And to further execute his no-boundaries vision, Mortiis focused on vocal arrangements in a way he hasnβt on previous efforts, partnering with a cast ranging from Sarah Jezebel Deva (Cradle of Filth) and Illiana Tsakirake (Septicflesh) to Christopher Rakkestad (ElvarhΓΈi, Bolverk) and Skinny Puppyβs Matthew Setzer,4 who join him and, along with a vocoder and some autotune modulation, cement completely the otherworldly experience Ghosts of Europa provides.
Effortlessly flowing and expertly paced, Ghosts of Europa is permeated with a laid-back melancholy, allowing Mortiis to undulate easily between extended ambient moments and more traditional synth-pop. This ebb and flow effectively renders Ghosts of Europaβs fifty-plus-minute runtime into something that feels much shorter. As with any great film, Ghosts of Europa begs to be heard in its linear totality, rather than having any of its constituent parts relegated to a cannibalized playlist, despite some of its more traditional moments being ripe for such compartmentalization. Mortiis has provided an experience akin to getting lost in any of his early, Era I dungeon albums, if that sparks you, but with dialogue and an impactfully matured, image-conjuring vivacity. I repeatedly found myself easily lost in the Neverending Story-like feel of Mortiisβs conjuration, enamored with every moment. My one critique is reserved for the albumβs editing, which could easily be attributed to the product of the promo, but rests with the abrupt and awkward resolution of some of the tracks (βThe Faith That Fades Away,β βTundra, Heart of Hell,β and βFarewell, Romeroβ). Not nearly enough to ruin the experience, but worth mentioning.
I have never felt FOMO for missing out on Mortiisβs back catalog. Iβm not particularly fond of dungeon synth as a genre, and took minuscule note of Mortiisβs shift into more traditional territory nearly 26 years ago. I was very drawn, however, to the stark cover art of Ghosts of Europa and the soul-syncing feel of the albumβs title track. The door I walked through after listening to the whole thing converted me. Ghosts of Europa has earned my highest rating this year to date, and I can only recommend that you all give it a chance as well.
Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Prophecy Productions
Websites: Bandcamp | Facebook | Webstore
Releases Worldwide: June 26th, 2026
The Cult - She Sells Sanctuary
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π΅ The Cult - She Sells Sanctuary (Long Version)
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π΅ The Cult - She Sells Sanctuary
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π΅ The Cult - She Sells Sanctuary
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πΊπ¦ #NowPlaying on #KEXP's #MorningShow
The Cult:
π΅ She Sells Sanctuary
Denis is at it again
If Type O Negative wrote "She Sells Sanctuary" (The Cult, 1985)
Very much feels like what Josh and Peter did with
Seals & Crofts "Summer Breeze" back in 1993
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Sonic Temple
It's #4 from The Cult and it's released on April 10, 1989. It features some their biggest hits that push it to #10 on the US charts, including "Sweet Soul Sister" and "Sun King." It was the first time the band worked with producer Bob Rock and the last with long-time bassist Jamie Stewart. #thecult #sonictemple #80srock #rock #rockmusic #90srock #firewoman #hardrock #heavymetal #sunking #music #msuicsky #musiciansky
