|Cults||Offering||Sinderlyn||Oct. 6th, 2017|
Cults — Offering (Oct. 6th, 2017) ΔΔΔΔΔ Cults made their name in black and white. A pair of film school dropouts who burst onto the New York scene with a perfect single and a darkly retro sound, the band’s first two albums play like noirish documentaries on a lost girl group. Four years after Static, Cults returns with Offering, an exciting collection of songs bursting with heart, confidence, shimmering melody and buzzing life. The time off has given the band new energy and new ideas~Cults are working in Technicolor now.
ΔΔΔΔΔ The core duo remains the same. Madeline Follin and Brian Oblivion, both 28, still live in New York. They still finish each other’s thoughts and still share a love of catchy music and black humor (this is a band that sampled cult leader Jim Jones on their first hit). But the pair have put some blood on the tracks since their breakout debut: they’ve toured the world, built a devoted audience, survived a breakup, grown up in green rooms, parted ways with their old label and made a home of their new one.
ΔΔΔΔΔ “Huge fan of Cults. Finally after four years they release the new album “Offering”. I didn’t think they would top “Static” but after listening to this album it’s now my favorite Cults album. Favorite songs are Right Words, Natural State and Gilded Lily”. (Joel Espinosaon October 6, 2017)
Location: East Village, New York, NY, USA
Genre: Indie Pop
Album release: Oct. 6th, 2017
Recording Location: Outland Studios, Stockholm Syndrome Sound Studio, The Cave and Lone Palm, Thrill Me Studio, Thunderdome Studios
Record Label: Sinderlyn
01. Offering 4:13
02. I Took Your Picture 3:20
03. With My Eyes Closed 3:43
04. Recovery 4:12
05. Right Words 3:08
06. Good Religion 4:03
07. Natural State 3:49
08. Nothing is Written 3:37
09. Talk in Circles 3:54
10. Clear From Far Away 3:46
11. Gilded Lily 3:33
ΔΔ Brian Oblivion vocals, guitar, percussion
ΔΔ Madeline Follin vocals
Δ Scarlett Connolly Photography
Δ Cults Producer
Δ Marc Deriso Drums
Δ Madeline Follin Composer, Drums, Keyboards, Piano, Vocals
Δ Loren Humphrey Drums
Δ Max Kamins Assistant Engineer, Bass
Δ Will McLaren Guitar
Δ Brian Oblivion Bass, Composer, Drum Progr., Electronics, Guitar, Keyboards, Percussion
Δ Gabriel Rodriguez Guitar
Δ Ian Sefchick Mastering
Δ Mike Sniper Art Direction
Δ Shane Stoneback Engineer, Mixing, Producer
Δ Cults (2011) US: #52, UK: #133, CAN: #89
Δ Static (2013) US: #114
Δ Offering (2017)
Δ Cults 7” (2010)
BY EDDIE FU on JULY 07, 2017, 5:30PM
ΔΔ For the album’s recording sessions, vocalist Madeline Follin and guitarist Brian Oblivion linked up with longtime engineer Shane Stoneback. They drew on Pink Floyd as a big inspiration for the record, which was the result of a more collaborative effort between Follin and Oblivion. Instead of trading ideas back and forth, they worked together in a room to bring their songs to fruition.
ΔΔ “It was exciting, because writing stopped feeling like a homework assignment,” Follin shares via press release. “I was able to sit down and do it only when I wanted to. These songs are less art projects, less thinking ‘this is a heartbreak song, what would Lesley Gore do?’ and more reflective of things that have happened in our own lives.”
ΔΔ Ahead of the upcoming album, Cults have unveiled its glittery, synth~laden title track. According to the duo, the song is about “finding hope in what can seem like a hopeless situation.” Follin and Oblivion add, “In stressful moments we think it’s important to focus on the people who have helped you out and are there for you. Every cool thing that ever happened started with just a few close people in a room together.” Δ https://consequenceofsound.net/
Chase McMullen, 06 Oct, 2017. Rating: 7/10
Δ Offering is a more streamlined and straightforward pop album from Cults
Δ Cults’ singer Madeline Follin is more front~and~center than ever on Offering, and her expressive voice dominates the record without pause. These are all likely the smoothest, most assured set of songs the act have yet released. The playfulness is sure to be missed, but had this album arrived courtesy of nearly any longtime pop act, these songs would surely be readily embraced.
Δ Change often brings concern. If a man finds his way, his current friends are still going to gripe, “What happened to him?” Music fans tend to be less forgiving. Take The Morning Benders. Granted, their switch in sound didn’t result in particularly inspiring tunes, but many simply balked at the very idea of POP ETC. To be sure, Cults have done nothing so radical on Offering, but the value to be found here will much depend on the listener’s ability to let go of the scrappy ruffians that felt so carefree and fun in 2011.
Δ While 2013’s Static saw them clinging to some of that energy, grumbles of diminishing returns had already reared their head. In the years since, Cults have clearly taken their deliberate, measured time. In this period, they seem to have sanded down any of the rough edges that would have been considered their character. Δ Listening to the pristine, comfortable electro~pop of Offering, and glancing at its more than Spoon~like cover art, it’s a bit hard to remember what made Cults feel different on their first album: but does this instantaneously have to be a bad thing?
Δ In the place of any tomfoolery, singer Madeline Follin is more front~and~center than ever, and her expressive voice dominates the record without pause. These are all likely the smoothest, most assured set of songs the act have yet released. The playfulness is sure to be missed, but had this album arrived courtesy of nearly any longtime pop act, these songs would surely be readily embraced.
Δ ‘Good Religion’ jumps out with immediacy, its earworm chorus catching even the critical listener off guard, like much of the record. Many of these songs don’t seem overly concerned with focus, content to simply offer a groove for a busy day. Hidden within the unassuming flow of the tracklist are sneaky gems, the sort that’ll make you perk up without fully realizing it, and keep returning to seek out again.
Δ All in all, Offering is well suited to its release date, the perfect contented collection of pop vibes to kick back with as the fall readily approaches. Whether listeners at large follow will mainly depend on their willingness to accept Cults in their current incarnation. But, if one accepts the mission statement, there’s plenty of fun to be had here, even if it can’t help not quite measuring up to past hype.
Photos and words by Scott Sheff
Δ A sold out crowd at The El Rey Theatre grew antsy waiting for Cults to take the stage, resulting in some calls from the crowd to “Come out already!” and chants of “Cults! Cults! Cults!”
Δ Once the lights were killed, fans were kept waiting for what felt like several minutes to the sounds of relaxing, hypnotic music played over the house sound system and a dark stage in front of them. But all that was water under the bridge once the band took the stage, as the crowd erupted into a chorus of cheers.
Δ With their latest album Static, the band brought that concept to life with a backdrop of screens used to project a variety of images, including, fittingly, television static. The projections created some colorful patterns on the performers, as well as the crowd.
Δ About half~way through the show, the lighting turned dramatic as a web of light engulfed lead singer Madeline Follin in a smoky silhouette. The mood created seemed to fit Follin’s shy on~stage persona, who often pinched her skirt like it was a security blanket offering her comfort throughout the set.
|Cults||Offering||Sinderlyn||Oct. 6th, 2017|