The Cult

[FunkyMonkey]

From an interview with Ian Astbury:

SXSW preview: The Cult returns with new record, 'still inquisitive, still passionate'

March 5, 2012

When you run with wolves and jackals, you get wise to the ways of survival. Just ask Ian Astbury, singer for the Cult. Reached at his Los Angeles home, Astbury obliges a question about taking an unknown Guns N' Roses on tour as the Cult's opening act in 1987.

"They were the understudies," Astbury says. "We'd already been through several tours with bands that had junkie tour managers (pulling) revolvers after midnight. On that tour, I was the guy getting chased by the cops."

Back on the run and armed with the new "Choice of Weapon" album due May 22, the Cult makes its 2012 performance debut with South by Southwest gigs March 16 at Waterloo Records at 6 p.m. and March 17 at Auditorium Shores at 8 p.m. Both shows are free and open to the public.

"I think we went back to a place of instinct," Astbury says of the new album. "There were no predetermined agendas. We've had periods of stagnation and being stale and repeating ourselves, but I think that's common. With ?Choice of Weapon,' we just said, ?(Screw) it! We're going to grab every jewel we can find. We're going to play the ace and go as deep as we can.' There's definitely hard rock moments on this record, but then again, there's moments that are kind of pastoral."

Formed by Astbury and guitarist Billy Duffy in Britain's late-1970s punk scene, the Cult made its first real ripple with the 1985 album, "Love," and its post-modern singles "Rain" and "She Sells Sanctuary." By 1986, the group was recording in New York City with emerging hip-hop producer Rick Rubin. The resulting "Electric" album hit bigger and harder with tracks like "Love Removal Machine," "Wildflower" and "Lil Devil."

"Our sound became very direct," Astbury says. "There's no room for ambiguity in New York City. You were either straight-up or you were thrown out with the trash. We were only 25 years old when we made that record."

Young and hungry, Astbury handpicked Guns N' Roses as the Cult's opening act on the "Electric" tour. The pairing proved pivotal for both bands as they began building bigger audiences.

"There's a camaraderie that we'll have (with GNR) that nobody else will ever experience," Astbury says. "My girlfriend at the time straightened (GNR singer) Axl Rose's hair, put one of my bandanas on his head, and that became his look. That was my look!"

In 1989, the Cult soared to greater heights with the million-selling "Sonic Temple" album and its radio mainstays, "Fire Woman," "Sweet Soul Sister," "Sun King" and "Edie (Ciao Baby)." The following decade was far less kind because of uneven albums and infighting.

By 2001, frustration reached a new high when the comeback album, "Beyond Good and Evil," fell victim to record company neglect. Disenchanted, Astbury and Duffy parted ways leaving the singer free to replace the late Jim Morrison in a reprised version of the Doors.

"Initially, I approached it with so much reverence that I was almost not able to connect" with the audience, Astbury says. "I think it was (music critic) Jon Pareles from The New York Times who butchered our eighth performance. I looked at that and went, ?The gloves are off.' We went on to do 150 shows. The demand was there."

Reconciled with Duffy since 2007's "Born Into This" album, Astbury is hopeful "Choice of Weapon" will start the Cult's mojo rising again.

"We're still growing and still developing," he says. "We're still students; we're still inquisitive; we're still passionate. I still think what we're doing is relevant. We still have an awareness of what's going on around us. It's not like I live in a cave."

http://www.austin360.com/music/sxsw-preview-the-cult-returns-with-new-record-2218456.html

[BurningHills]

"Libertine" is such an awesome track.

Shame that it was only relegated to "bonus track" and "b-side" status. 

[Falcon]

"Libertine" is such an awesome track.

Shame that it was only relegated to "bonus track" and "b-side" status. 

It's a rockin tune, right there with "Zap City" as my favorite Cult B Sides.

[BurningHills]

"Libertine" is such an awesome track.

Shame that it was only relegated to "bonus track" and "b-side" status. 

It's a rockin tune, right there with "Zap City" as my favorite Cult B Sides.

I love "Zap City" too, and "Love Trooper."

[FunkyMonkey]

"There's a camaraderie that we'll have (with GNR) that nobody else will ever experience," Astbury says. "My girlfriend at the time straightened (GNR singer) Axl Rose's hair, put one of my bandanas on his head, and that became his look. That was my look!"

@9:05: http://www.youtube.com/watch?v=eLKXlNhWsa8 

[Falcon]

A very good interview with Billy can be read below, tons of insight on alot of stuff - including plans for a "Billy Duffy Signature Gretsch" - fuckin' awesome.

http://www.musicradar.com/news/guitars/interview-the-cults-billy-duffy-talks-new-album-choice-of-weapon-533159

Interview: The Cult's Billy Duffy talks new album, Choice Of Weapon

"We're winning!" crows Billy Duffy, guitarist for The Cult, echoing the now-infamous words of Charlie Sheen. But he's in on the joke, and he punches his statement with a laugh before turning serious. "OK, we're still in the game, we're still standing. In many ways, I think we've probably lived up to the prophecy of our name."
 
The release of She Sells Sanctuary from The Cult's 1985 album Love put the then-British-based band on the map. And nearly 30 years later, the song is still paying dividends - it was recently featured in a Super Bowl Budweiser ad. An omnipresent track such as this could be viewed as an albatross, but as Duffy sees it, "A big song is a big song. I'm certainly not going to complain. If we did something a while ago that people still love, that's a remarkable achievement."
 
On 22 May, The Cult are set to release Choice Of Weapon, their ninth studio effort and their first full-length album in five years. Co-produced by Chris Goss and Bob Rock, it's a strong, expansive set of psychedelic rock served up bold and brassy, led by the slamming first single Lucifer. "We like to hit people fast," says Duffy. "Nuances and finer points are in our music, but rock 'n' roll is still about getting to the point."
 
MusicRadar sat down with Billy Duffy recently to talk about the new album, his relationship with singer Ian Astbury and his ongoing love of Gretsch White Falcons. How are you and Ian after all these years? Do you have a complicated relationship?

 
"There's been some roadblocks. We're both very stubborn people. But I think we've made more good decisions than bad. Ian and I got together and started writing songs back in 1983 - that's a long time. We've had a few hiatuses and hibernations, but we're still going."
 
"We're the head and the heart of The Cult. We each do things the other one can't. It doesn't matter who's in England, who's in the States, any of that thing. Geography never had any bearing on us, really, because we've always considered ourselves a global enterprise.
 
"Ian and I are English guys, so we have that sort of sensibility ? we always will. But we never considered The Cult to be a typical teabag/bowler hats/umbrella band, if you know what I mean. As far as our own relationship goes and what we bring to the group, it's fine."
 
Let's talk about your approach to the guitar ? in particular, your use of the Gretsch White Falcon.
 
"The Gretsch, absolutely. You know, I'm not a hoarder of guitars. I've got a few Gretsches, and they're all good, working guitars. I don't use them all the time, but I use them when I can. It's a pretty big thing, you know, the Gretsch ? it's heavy. And we're working on a signature model, too, so that'll be something nice to look forward to."

You must have some pretty nice vintage models.
 
"Well, I have what I could afford back in the '80s, which was a 1970s Gretsch. I always liked the way that guitar felt. Gretsches were always expensive, even then, because they were imported into the UK from the US. Of course, I didn't have any special backing then, so as you can imagine, buying a guitar like that was a really big deal.
 
"In fact, back in '82, I bought a double cutaway that was stereo, which made it difficult to use ? I had to get a stereo jack for it. Then I got a single cutaway mono version, and that's the one people have seen a lot. It was easier for me to handle, too. I didn't like the stereo guitar too much; I don't know what it was made for ? some kind of country-jazz-fusion thing, I guess. But I wanted to rock, so the other one suited me fine."
 

[Falcon]

con't..

Who was your inspiration for picking the White Falcon? Not many people automatically go for that kind of guitar.
 
"It was a long-term/short-term thing. Long-term, pre-punk rock, around 1976, I was playing in my high school band, and we were all into Neil Young and Ted Nugent. I went to see Nugent around this time in England. He was playing the big Byrdland and all that. So I was very impressed by the large, semi-acoustics. They were more exotic, even though I still liked Les Pauls ? and a black Les Paul copy was my very first guitar.
 
"The Gretsch thing was just a search for a different sound, something unique. And what brought it into focus was when I went to see Bow Wow Wow. I kind of knew those guys a little bit, but seeing Matthew Ashman with that Gretsch? I was transfixed. I said, 'If I get any money, I'm buying a Gretsch.'
 
"Soon after, I got in the band Theatre Of Hate, and ironically, the singer played a Gretsch. He had an odd-green model, with the pickup by the neck ? it was great. He asked me one day what kind of guitar I was going to play, and I said, 'Well, I've got a job now, don't I? I'm buying a Gretsch!' Took all my money and got the double cutaway.
 
"Gretsch's are great. They've got their sound, obviously, but there's the look ? it's distinctive. You strap on a Gretsch, and you're saying something with how you look. The visual thing is very important in rock 'n' roll. A Gretsch is a fashion statement, as well as an instrument for sound."
 
They do look cool, but the sound is the thing.
 
"Without a doubt, and it's something I've really experimented with. I've tried to go for something? cinematic. I didn't want the surf thing or rockabilly, and I didn't even want to do Ennio Morricone ? I wanted it to be psychedelic. It's a feeling I pursued, and I still am."
 
Amp-wise, what have you liked to pair the White Falcon with?
 
"The signature sound of the first two Cult albums was the Gretsch and a Roland JC120. That amp had a very nice, clean chorus sound. Looking at pictures of me live from around this time, I went for a double amp setup ? there was always a valve amp to give everything some balls.

"Even though I considered a Marshall and a 4x12 to be very 'rock,' and almost a bit 'metal,' I tended to go with them. Fender Twins didn't have what I wanted, and Vox AC30s were a bit shrill for me. But I haven't had a lot of changes. In the '90s, I discovered Matchless amps, and they're really good."

Are you a bit surprised at the longevity of the Love album? She Sells Sanctuary is a gift that just keeps on giving.
 
"Yeah, I am surprised, but then? The song has a certain magic, and I have to confess that I never tire of playing it. It's uplifting, a real feel-good song you can get all caught up in. Ian and I never had a moment when we didn't want to play it. It's an easy, graceful song with a rolling energy. To tell you the truth, it almost plays itself!" [laughs]
 
You reference it somewhat on the new album. The song The Wolf has a similar kind of intro.
 
"Sure. We're very conscious of that ? Ian, especially. There's a signature thing I do on the guitar, the droning, repetitive chordal bit. It's a cool thing, and you can do endless combinations or variations of it. A lot of our songs have that ? Fire Woman, Rain, Rise? there's quite a few."
 
It's similar to what The Edge did on some of U2's earlier songs.
 
"Yeah, yeah, it is. But he was always a picking-minor-chords kind of guy. With The Cult, it's more of a driving thing. We're all from the same punk era, you know. All any of us did was say, 'How the fuck do you follow the Sex Pistols?'" [laughs]

You're not known for taking big guitar solos, but you do have a few on the new album. Death and Amnesia have some nice lead breaks.
 
"Yeah, there's a few. I'm not a big solo guy. I go in and just wing them. The guitarists from the era I came from weren't into solos, and I'm probably the best soloist of the bunch. That's not to say it's my thing, 'cause it's not. I like melodic interpretations, like Roxy Music and Bowie ? although Mick Ronson was a massive soloist.

"But you know what I mean - I never wanted to practice guitar solos. It always seemed like a kid practicing the violin. I always thought that there were more exciting things to do, people to meet and all that."

What was it like working with Bob Rock on the new album? The band has a history with him?
 
"Bob is great. We've done four albums with him, and he really 'gets' us. Ian is always trying to bring different elements into The Cult, and he got Chris Goss to be involved. They've worked together in the past. And all credit to Chris, he did a lot of heavy lifting on this album. But Bob came in and really finished things. That's what he was: The Finisher. He'd come in when we were floundering, and he knew just what to do.
 
"Bob is a real hook guy; he knows what the songs need to grab people. But he's also big picture. He'd listen to songs and go, 'Where's The Cult? Where's Ian and Billy?' He can zone in very quickly and see where we have to go."
 
The word 'comeback' is overused, but do you think it applies to this album?
 
"No, not at all. I'd never look to it like that. For us ? and I do understand the Wide World Of Sports aspect to culture and all that ? it's like we never went away. We might not make as many records as we used to, but it's only because we don't want to do anything until we're ready. I don't want to inflict mediocrity on Cult fans. Anybody with a cheap recording device and access to the Internet can do that.

"That's the problem nowadays: Anybody can do anything. Anybody can be a rock star ? or at least they think they are. But just because you put stuff out there doesn't mean you have talent. It's just stuff, interference in the airwaves. With The Cult, we always felt that if we're going to take up people's oxygen, we might as well make it count.
 
"But if I can bring up my one peccadillo with the band, I think we don't follow things up as we should. We get going in the writing process, and we get recording, and then we don't follow it up quick enough. Having said that, I'm going to try to get Ian to agree that we should continue writing and working faster. The last album was 2007. This record isn't a comeback, but we could be around more. Sure, we could."

[FunkyMonkey]

THE CULT Frontman On New Album: 'I Think We Went Back To A Place Of Instinct' - Mar. 6, 2012

One of the finest British rock acts to have enjoyed worldwide success over the last few decades, THE CULT will release its first studio album in five years, "Choice Of Weapon", on May 22 via the band's new label Cooking Vinyl.

"Choice Of Weapon" is the follow-up to the critically acclaimed 2007 release "Born Into This" that the U.K.'s Mojo magazine called "a wholehearted, utopian and irrefutably exciting record." Longtime THE CULT collaborator and producer Bob Rock (METALLICA, BUSH), who produced one of THE CULT's most successful albums, the platinum-certified "Sonic Temple", put the finishing touches on the foundations that were laid by co-producer Chris Goss (QUEENS OF THE STONE AGE, U.N.K.L.E., MASTERS OF REALITY).

The album was written by Ian Astbury and Billy Duffy, recorded in New York City, Los Angeles, the California high desert, and the band's Witch Mountain studio between July and December 2011. The new release features founding members Astbury on vocals and Duffy on guitars, with drummer John Tempesta and bassist Chris Wyse.

Speaking to Austin360.com, Astbury said of "Choice Of Weapon", "I think we went back to a place of instinct. There were no predetermined agendas. We've had periods of stagnation and being stale and repeating ourselves, but I think that's common. With 'Choice Of Weapon', we just said, '(Screw) it! We're going to grab every jewel we can find. We're going to play the ace and go as deep as we can.' There's definitely hard rock moments on this record, but then again, there's moments that are kind of pastoral."

"Choice Of Weapon" is aimed at the heart of THE CULT's loyal following. It reflects the current discontent and destruction of our eco systems, the search for individual meaning against a tide of rampant materialism, narcissism and disconnected lives.

"We're still growing and still developing," Astbury told Austin360.com. "We're still students; we're still inquisitive; we're still passionate. I still think what we're doing is relevant. We still have an awareness of what's going on around us. It's not like I live in a cave."

http://legacy.roadrunnerrecords.com/blabbermouth.net/news.aspx?mode=Article&newsitemID=170770

[Falcon]

The Cult's Billy Duffy and Ian Astbury to appear on VH1 Classics "That Metal Show" May 12 http://bit.ly/yigKRl

[Falcon]

Beyond their 2 SXSW gigs next week, Ian will be doing a vocal clinic at the festival as well.

How cool is that?

Artist Central Clinic: Vocals
 
Legendary vocalist for The Cult, Ian Astbury, will deliver an hour-long clinic-style presentation on the the voice as an instrument. This once-in-a-lifetime discussion will range from tips, techniques, warm-ups, how to keep healthy on tour, frontman advice, and stories - a treasure trove of info that fellow vocalists could walk with, all from a singer who will play to thousands of fans that very night!


http://schedule.sxsw.com/2012/events/event_MP990458

[BurningHills]

I love seeing so much activity in the Cult world! 

[Falcon]

From www.sxsw.com

http://schedule.sxsw.com/2012/events/event_MS18835

Born out of the ashes of the UK post-punk scene, The Cult evolved to become one of the most influential and controversial rock bands of the late 20th century, selling millions of albums, headlining arenas and stadiums around the world, infusing innovative possibilities into the worlds of music and art, and quickly ascending through the ranks of the indie music world to achieve global status. As early as its first American tour in 1984, The Cult became one of the handful of important bands in the U.S. post-modern and hard rock communities. The band was embraced by the lost children of The Doors and Velvet Underground, and a generation that was waking up to the influence of 60s and 70s rock icons like Led Zeppelin, The New York Dolls and David Bowie.

Formed in Brixton, London in 1983 as Death Cult, The Cult?s music transformed from punk rock to post-punk, psychedelia, heavy dance music, and transcendental hard rock. As one journalist noted, ?Using a few simple riffs and images, The Cult creates an entire environment, one more exciting and stimulating than our own.?

And that may just be what separates The Cult from other artists. Imagery is all-important to vocalist/lyricist Ian Astbury, imagery in the music and in the art that accompanies the Cult?s projects. Astbury is attracted to words and the image that each word creates. He is engaged by the power of nature, folklore, the concept of destiny, animal power symbols, the survival of the species, spirituality, and certainly the Native American myth and culture, a subject of many of The Cult?s songs.

The constant core of The Cult is Astbury and guitarist/composer Billy Duffy. Attitude incarnate, the chemistry between these two vastly different artists - equal-parts genuine affection and palpable tension - remains the source of their long-standing partnership. Duffy grounds Astbury?s esoteric side with a hard rock perspective, and there is no doubt that at all times, these two have each other?s backs.

[Falcon]

From Cult bassist Chris Wyse:

"In the second Cult rehearsal today. New songs sound great"

8 days til the warm up gig at Waterloo Records in Austin next Friday at SXSW then in front of
a bazillion people on the main stage on St Paddy's day - time to get dialed in.

[Falcon]

Dear Guitar Hero: Submit Your Questions for Billy Duffy of the Cult!

Got a question for your favorite guitarist? Let us be your go-between. The concept is easy ? you submit your queries and we pass them on to some of the world's greatest guitarists. Only the sharpest and funniest questions will be used.
 
This month, in anticipation of the Cult's forthcoming CD, Choice of Weapon (set for release on May 22 via Cooking Vinyl), we're giving you the chance to ask guitarist Billy Duffy anything you want!
 
Just email your questions to dearguitarhero@guitarworld.com and put "Billy Duffy" in the subject line. Remember to include your name in the email body, so you can get credited in the magazine, and impress and annoy your jealous friends!



http://www.guitarworld.com/dear-guitar-hero-submit-your-questions-billy-duffy-cult?utm_source=twitterfeed&utm_medium=twitter

[BurningHills]

From Cult bassist Chris Wyse:

"In the second Cult rehearsal today. New songs sound great"

8 days til the warm up gig at Waterloo Records in Austin next Friday at SXSW then in front of
a bazillion people on the main stage on St Paddy's day - time to get dialed in.

Sweeeeeeet!

 

[Falcon]

For those in Europe, another track from The Cult's upcoming album "Choice of Weapon" can be heard via spotify.

The Cult - "For the Animals"

http://open.spotify.com/album/1PaSCgPhKLp7xlqSe9oWnR

[Falcon]

Another IA interview:

Ian Astbury Interview

Since meeting Ian Astbury a few years ago through a mutual friend, the late, great Shawn Mortensen, I have been able to cross paths with the artist in various parts of the world, each time as intriguing as the last. Often updating each other on various projects, when POST NEW launched and news of The Cult releasing a new album, what better time to interview the man about the latest project. In true philosophical and "nomadic" style that I have been able to embrace from Ian over the years, he answered my questions in true form.
 
James Oliver: Who were some of your early influencers?

Ian Astbury: David Bowie, Vivienne Westwood and Malcolm Maclaren, Picasso.

JO: Can you please tell me a bit about how The Cult has evolved and grown over the years?
 
IA: We started as a post-punk band, really street kids and evolved through hard rock and back to post modern and beyond. We have always tried to reflect our feelings and reflections of the culture at the time of writing and recordings.
 
JO: It's been a while since you worked on an album together, why was now the time?
 
IA: We started working with Chris Goss on the capsule collections and realized we had enough songs for an album, it felt right, the right time, we have a lot to say right now.
 
JO: Can you tell us a bit about the concept of the 'Choice of Weapon' album?

IA: Choice of Weapon reflects someone who has made their mind up, has a strong resolve - it could be a knife or a camera or a dorje, depending on the situation, it's an autobiographical record, songs of redemption. Coming out of the wilderness.
 
JO: How can you explain the sound of the album?

IA: Cinematic, dilettante, authentic, driven primal.

JO: The cover for the album is quite unique, can you explain what it is and what it means to you?
 
IA: I wanted an image that reflected the sentiment of our times, the dark shaman appears from the wilderness to remind us of our connection to the great mystery and our dependance on the natural environment for our survival, it's a homage to indigenous cultures who still practice these principles and awareness. We have certainly moved into a dark time where the vulgar and the shallow are venerated.
 
JO: Can we look forward to The Cult touring around the world in the near future?
 
IA: We will be touring extensively throughout the world this year, dates are being booked and we start at SXSW in March.
 
JO: How does travel help inspire you?

IA: Travel with a band is different to travel on your own, we tend to conserve all our energy for our shows, when you find yourself in a major city like NYC, Tokyo, Paris, Milan, or Berlin then the gloves come off, plenty of walking the streets till dawn... I prefer having no agenda and wandering into new situations.
 
JO: Beyond music, you have a strong eye for street culture, can you explain your perception on culture and how it has changed in recent years.
 
IA: My love affair started with Levi's, Nike, Westwood + Maclaren, in the 70's when I was a kid. We seem to be moving into a darker phase, interesting to see young artists like A$AP ROCK name dropping and wearing Rick Owens. I used to hang out in the Rick Owens store and Supreme in the city, we can see the cultures merging, everyone is feeling the heat. So many designers are getting their act together , its cultural warfare. There is also a lot of meaningless activity which usually occurs before a break through. The best authority right now is yourself. Too many opinions. What ever your feeling from the gut is is the way to go. No rules.
 
JO: Personally, what have been some of the most significant movements during your generation?
 
IA: I don't really feel like I belong to any generation or period, I have always been nomadic, I'm still deeply passionate about culture... I'm grateful to have lived through some amazing periods in the late 20th century and early 21st century. The punk rock 70's, Basquiat's NYC and the Def Jam 80's, the rise of street culture in the 90's, the ability to create your own tribe and image in the 2000's... I could list hundreds of events. I'll leave that for the memoirs (not ready for that yet).
 
JO: Can you tell us some names that are impressing you of late? Anyone we should be looking out for?
 
IA: The usual suspects, Supreme, NBHD, WTAPS, Undercover, Visvim all own the street, Rick Owens always, really feeling Patagonia right now, especially their lightweight packable pieces, White Mountaineering destroys (just getting pieces that fit), military tech camo's LAMF will be making an appearance again this year. Wilderness outerwear, Pendleton Blankets, Danner Light Hiking Boots, Monk robes, Bone Mala's, Goro's... some outlaws out there killing it, Kostas Seremetis, Jason Dill, Erik Brunetti, Wes Lang, Kenneth Cappello and their crews.
 
JO: Finally, words to live by?

IA: Live and let live.
http://post-new.com/#news=music-culture/ian-astbury-interview

[Falcon]

Another US Festival date semi-confirmed

May 4th or 5th - Birmingham Alabama

According to AL.com, MEGADETH, THE CULT and JANE'S ADDICTION are among the confirmed artist for the 2012 edition of the Schaeffer Eye Center Crawfish Boil, a music and food festival set to take place May 4-5 at the Birmingham-Jefferson Convention Complex in Birmingham, Alabama.

Tickets go on sale at 10 a.m. on March 16 through Ticketmaster, and at America's First Federal Credit Union locations. Advance ticket prices are $30 for a day pass, $49.50 for a weekend pass. Advance VIP tickets will cost $75 per day, $140 for a weekend pass.

The Crawfish Boil, founded in 1986, gradually evolved from a casual backyard party to a large charity benefit, and then, to a professionally-run business that has attracted audiences of 20,000-40,000 people.

For more information, visit SchaefferCrawfishBoil.com.

[Falcon]

A little more tour info, full blown UK run in September - dates should be finalized soon.

[BurningHills]

These guys are really all over the place these days! Gotta love it!