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Malo je bendova koji su na ovim prostorima bili popularni kao The Cult. Darkerski pseudo-misticizam, jednostavna tri akorda u AC/DC kranč stilu, aranžmanska rešenja u najsvetlijoj Led Zeppelin tradiciji i očigledna opčinjenost likom i delom Jima Morrisona, bili su dobitna kombinacija koja je bendu obezbedila status u skladu sa imenom, na Balkanu, kao i širom sveta.

Priču o legendarnom bendu pokrenuo je Ian Astbury, kada je početkom osamdesetih formirao Southern Death Cult. Gotik-rok je tada lako osvajao nove pristalice, pa je bend već na petom koncert u karijeri gledalo preko 2000 fanova. Vrlo brzo su objavili i prvi singl i otišli na turneju kao predgrupa najznačajnijem sastavu tog trenutka Bauhaus. Nakon iznenadnog razlaza, Astbury je okupio novu ekipu u kojoj se zadesio i bivši Morrisseyev gitarista Billy Duffy. Naziv benda su skratili u prihvatljivije Death Cult, ali ih ni to nije zadovoljilo, jer je prva reč nedvojbeno asocirala na gotik i post-pank, a oni su već uveliko zakoračili u hard-rok i hipi psihodeliju. Debi album "Dreamtime" objavljen je u jesen 1984. da bi već u proleće hit singl "She Sells Sanctuary" najavio velike uspehe koji su usledili. Tokom snimanja drugog albuma "Love" basista Jamie Stewart je dobio pravog partnera u bubnjaru Lesu Warneru, a čak četiri numere sa ploče postale su hit na ostrvu.

Kako, međutim, pravog uspeha nema bez osvajanja Amerike, za naredno snimanje je u pomoć pozvan producentski mag Rick Rubin. "Electric" je zazvučao snažnije i rokerskije, imidž je doveden do savršenstva, pa je hit-singl "Love Removal Machine" bila zicer-karta za let preko okeana. Warnera je u međuvremenu zamenio Matt Sorum, ali je zato naredni album "Sonic Temple", snimljen u Americi, bio siguran korak ka definitivnoj svetskoj slavi, ogromnim tiražima i nastupima sa Metallicom, Aerosmithom i Motley Crue. Ali, kako u rokenrolu, kao i u životu, nakon visokog leta sledi neminovan pad, i u The Cult su usledile personalne promene, razmirice i kreativna kriza. Albumi "Ceremoni" iz 1991. i "The Cult" tri godine kasnije nisu toliko razočarali fanove, koliko kritičare i sam liderski dvojac Astbury/ Duffy, koji se 1995. i definitivno razišao. Gitarista je nakon toga gotovo nestao sa scene, dok je frontmen neko vreme predvodio Holy Barbarians, da bi na kraju ostvario i verovatno svoju najveću želju - Ray Manzarek i Robby Krieger su ga pozvali da u obnovljenim The Doors zameni Jima Morrisona.

Vest da se u ove godine u prodaji pojavio šestostruki boks-set grupe nikoga nije začudila, sve dok nije odjeknula i sledaća bomba: The Cult su se ponovo okupili i 1. marta odradili prvi gig u San Francisku. Nakon američke turneje na kojoj će svirati isključivo najveće hitove, uslediće selidba u Evropu, gde će, između ostalog, nastupiti i na festivalu Exit 06.

www.the-cult.com
www.cultcentral.com

The Cult pozivaju bubnjara Zombia

Britanski rokeri THE CULT su regrutovali bivšeg bubnjara White Zombie-a Džona Tempestu za novu US turneju.Osnivači Bili Dafi I Ian Atstbury su takođe pozvali basistu Krisa Vajsa koji je svirao sa grupom na njihovom zadnjem albumu BEYOND GOOD + EVIL da im se pridruži na putu.

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TORONTO - They won't see 40 again, they've broken up at least twice, their glory days were two decades ago and they haven't released an album of new material in five years. And yet Toronto has never stopped loving The Cult.

On their latest reunion tour -- the first in more than three years -- the British band has been playing to North American club audiences of up to a couple of thousand people.

Last night in Toronto, however, despite the cool, foggy weather, they nearly filled the Molson Amphitheatre with fist-pumping, hip-shaking fans.

It's a mystery why this particular city should be so smitten by The Cult's combination of big guitar riffage and wailing vocals, but the band was wise enough to be loudly appreciative, sending out lavish thank-yous along with the flying tambourines and non-stop rock.

The Cult has had a strange history filled with musical left turns, revolving rhythm sections, awkward hiatuses, rehab stints and waxing and waning sales.

Singer Ian Astbury -- who spent the past few years playing Jim Morrison in a new version of The Doors -- and guitarist Billy Duffy founded it in the early '80s, and have taken its sound from goth to punk to psychedelia to quasi-metallic classic rock.

Their critical and commercial peak happened when producer Rick Rubin helped them put it all together with monster guitar riffs and over-the-top vocals to make Electric, which spawned hits like Love Removal Machine and Wild Flower.

And though the band has never matched that early success, they've continued to churn out enough similarly high-powered songs to keep the fans coming -- especially in Toronto.

Like a creaky but powerful old machine, last night's show took a while to get going, but eventually settled into an impressive, if not relentless pace.

A bearded, kerchief-topped Astbury sounded a little tentative on the opener, Lil Devil, and its followup, Sweet Soul Sister, but by the time he got to Electric Ocean, which he described as obscure, and Revolution, he was in fine vocal form, whooping and wailing as he beat the tambourine and maracas and Duffy churned out the punk riffs.

Chestnuts like Spiritwalker -- the band's earliest hit -- and Rain were followed by In The Clouds and, after a swig of Red Bull on Duffy's part, Wonderland, which was dedicated to Doors manager Danny Sugarman.

Then the backing band of powerhouse drummer John Tempesta (White Zombie), bassist Chris Wyse and extra guitarist Mike Dimkich took a break while Astbury and Duffy did an acoustic take on Edie (Ciao Baby).

When they came back, it was time to take it home with Fire Woman, Peace Dog and Wild Flower.

There was no sign of new material, despite Astbury's claim that the band was "back for good this time -- no more rehab."