The Cult – Under the midnight sun – Rock The Best Music

Six years after “Hidden city”, the British band The Cult present us a new album with this “Under the midnight sun”. A dark Lp with which they return to that gothic or post-punk rock of their first albums. It must be recognized that the creators of masterpieces like “Love”, “Sonic temple” or “Ceremony” have not become a caricature of themselves as they continue to take risks with each album. In fact, “Under the midnight sun” is not an accommodating result, one of those simple ones to listen to but if you manage to enter into the risky proposal we find ourselves before a dense, calm and even sad vision.

The album begins with one of those spectacular riffs by Billy Duffy on “Mirror” where when Ian Astbury’s voice comes on we verify, with joy, that he hasn’t lost an iota of power. I have always maintained that it is curious how the former star, who in addition to being a magnificent front man was someone of exotic beauty, had lost that physical attractiveness, gaining weight and losing his long hair but her tone was still intact. “Mirror” proves it, besides being one of the best cuts, although “A cut inside” is not far behind, with some syncopated verses that lead to a successful chorus. Again great Astbury taking the song to his field, supported by Duffy’s six strings and John Tempesta’s powerful drumstick hit. Pure The Cult.

Surprising is “Vendetta X” that sounds like eighties gothic, a “turn of the screw” to its beginnings. A theme that improves with each listen. I guess there are few clubs and bars left with this musical style but “Vendetta X” is perfect to enjoy and even dance. Dark but with a great melody. Something similar happens with “Give me mercy”, heavy but with a rhythmic rhythm that gives it that point to not stop moving your feet. Much is due to those riffs of a Billy Duffy, someone with that strange ability to always get the guitar hit that the song needs.

“Outer heaven” is another hypnotic cut, with an Ian Astbury with a more baritone voice, thanks to the use of the synthesizer emulating winds. A false orchestration that works perfectly. More slow rhythms with “Knife through butterfly heart”, a mid-tempo with Duffy’s acoustic guitar approaching Latin rhythms in the verses to lead to another convincing chorus. At this moment we only have to discover ourselves before The Cult’s ability to continue “giving birth” to such different albums but with such quality and ease to build such colossal melodies and atmospheres. We’re nearing the end with another brief return to the band’s early days and the darkness of goth with “Impermanence”. Again, that somewhat deeper touch to Ian Astbury’s baritone voice gives it a special touch along with new outrageous riffs from Billy Duffy. The “final fireworks” arrives with the homonymous theme where, once again, they play with the orchestrations. An “Under the midnight sun” that begins in an intimate way to go up, in a progressive “crescendo”, leaving a spectacular outcome. An epic mid-tempo that serves as the climax to an album that brings us back to one of the most oiled classic groups on the rock scene.

Perhaps the thirty-five minutes of duration are a bit short for us (curious because the previous “Hidden city” exceeded fifty) but after a few listens we did not find any leftover tune. Nothing that seems to be filler. And that is complicated.

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The Cult – Under the midnight sun – Rock The Best Music