Live and recent posts from across the Fediverse tagged #thecult, aggregated by home.social.
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 désordre, sous la douche, ça marche quand même !
(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 “To Whom It May Concern” 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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🎵 The Cult - She Sells Sanctuary (Long Version)
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🎵 The Cult - Rain
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The Cult - She Sells Sanctuary
The Cult - Love Removal Machine
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🎵 The Cult - She Sells Sanctuary
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LISTEN TO THE GREATEST ROCK ALBUMS EVER MADE ONLY HERE:
https://dimitaralekseevdimitrov.blogspot.com/2026/09/top-10-best-rock-albums-ever.html
#thecult #imotherearth #soundgarden #aliceinchains #ledzeppelin #pearljam #kyuss #stonetemplepilots #gunsnroses
The buffoonery yet #TheCult of #MAGAMorons will eat it up‼️
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🎵 The Cult - Rain
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🎵 The Cult - Wild Flower
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🎵 The Cult - She Sells Sanctuary (Long Version)
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Though I’ve been aware of Australia’s Airbourne and their unapologetic AC/DC worship for years, I’d never listened to an album before picking up the promo for their sixth LP, Airbourne. Despite not being well-versed in Airbourne’s back catalogue, I spent years absorbing their main muse poolside, barside, and carside. Thus primed, I not only jumped into Airbourne, but the band’s 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 it’s a long way to the top if you want to rank ‘n’ roll. So does Airbourne leave us thunderstruck, or feeling like the band’s just beating around the bush?
As on prior outings, Airbourne delivers reliably raucous tunes that wear their inspirations on the sleeve. “Gutsy” 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 “Heatseeker” as well as Airbourne openers “Ready to Rock” and “Breakin’ Outta Hell.”1 It’s a well-constructed hard rock banger that captures AC/DC’s free-wheeling, scene-stealing antics, and I haven’t been able to stop playing it. “Kid in a Candy Store” and “Hells Got No Vacancy” exude similarly compelling charisma, anchoring essential tracks throughout the album’s runtime. The sleigh bells and holiday theme on “Christmas Bonus” will quickly remind listeners of “Mistress for Christmas,” and the tongue-in-cheek lyrics and straight-shot riffing recall moments throughout AC/DC’s 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. “Alive After Death (Last Plane Out)” thrums with The Cult-like energy, specifically recalling “Fire Woman”‘s lascivious luster, while “Rock N Roll Ya” bites with Def Leppard teeth and “Bogotá” breaks into Van Halen noodling, even throwing in some spoken-word shenanigans evoking “Hot for Teacher.” Throughout Airbourne, the band showcases tight songwriting and instrumental prowess as they toe the line between arena-ready choruses and sweaty rock ‘n’ roll braggadocio. Singer/guitarist Joel O’Keeffe sizzles with Brian Johnson grit and Angus Young licks, capturing the one-two punch that makes AC/DC so damn effective. Joel’s 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 Airbourne’s music. Newcomer rhythm guitarist Brett Tyrrell completes the quartet, complementing O’Keeffe’s 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 it’s 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, songs’ 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 (“Who Put the Rhythm in You”). And while Airbourne mostly does a good job whetting tracks’ distinct identities, some moments blur together (“Here She Comes” and “Who Put the Rhythm in You”).
Airbourne doesn’t 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, I’m not completely convinced that this is Airbourne’s 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-rockin’ heat that takes what came before and ties it all together. Whether you’re a longtime fan or just looking for fun new tunes, you won’t 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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🎵 The Cult - Resurrection Joe (Long Version)
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🎵 The Cult - Wild Flower
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🎵 The Cult - She Sells Sanctuary
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🇺🇦 #NowPlaying on #BBC6Music's #RileyAndCoe
The Cult:
🎵 She Sells Sanctuary
#6music #TheCult
▶️ 🪄 Automagic 🔊 show 📻 playlist on Spotify
▶️ Song/Cover on Bandcamp:
The Cult - She Sells Sanctuary...
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 Norway’s music scene since 1992, beginning as the inaugural bassist for black metal pioneers Emperor. When Håvard “Mortiis” Ellefsen realized the blackened arts weren’t 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 “Godfather” 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 2020’s Spirit of Rebellion. After revisiting the genre he helped found, Mortiis releases his 11th full-length album, Ghosts of Europa—in part shaped by a subsequently abandoned collaboration with Stephan Groth (Apoptygma Berzerk)—to 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 Mortiis’s greatness, or be cursed to haunt the darkened shadows of Norwegian mediocrity?
Ghosts of Europa is sexy, spacy, and cinematic—a synth-forward record that draws from each of Mortiis’s electronic eras—moving from dungeon scenes to movie screens. Those familiar with Tangerine Dream’s ’80s “soundtrack” 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 Ghosts’ more ambient moments (“Return to the Old Fields,” “Transcending Morpheus,” “Tribes of Dystopia”). When Ghosts of Europa shifts to straightforward, beat-driven electronics (“Ghosts of Europa,” 2 “Violent Silence”) it taps a Depeche Mode and Kraftwerk vein. Still, other Mortiis Era II specters haunt Ghosts’ halls on tracks like “Tundra, Heart of Hell,” an electro-rocker that channels She Wants Revenge and The Cult, just as “Farewell Romero” has a distinct Marilyn Manson feel to its slow, painful burn. Mortiis has reached the peak of his musical prowess, wielding a conductor’s 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 “When we all fall down” that dominates the opening title track to the chorus on “The Faith That Fades Away” requesting “Leave me with my sins, leave me with my thoughts,” and on through “Farewell Romero”‘s painful admission “I found a way to kill some of the pain, like a warm and cleansing summer rain,” Ghosts’ 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 hasn’t on previous efforts, partnering with a cast ranging from Sarah Jezebel Deva (Cradle of Filth) and Illiana Tsakirake (Septicflesh) to Christopher Rakkestad (Elvarhøi, Bolverk) and Skinny Puppy’s 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 Europa’s 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 Mortiis’s conjuration, enamored with every moment. My one critique is reserved for the album’s 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 (“The Faith That Fades Away,” “Tundra, Heart of Hell,” and “Farewell, Romero”). Not nearly enough to ruin the experience, but worth mentioning.
I have never felt FOMO for missing out on Mortiis’s back catalog. I’m not particularly fond of dungeon synth as a genre, and took minuscule note of Mortiis’s 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 album’s 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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🎵 The Cult - She Sells Sanctuary (Long Version)
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🇺🇦 #NowPlaying on #KEXP's #MorningShow
The Cult:
🎵 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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🎵 The Cult - Rain
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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
Comparto musiquilla antes de ponerme a estudiar un ratillo 📚
The Cult 🔹 Born To Be Wild
#hilomusical #music #thecult
