Thu, November 9, 2017
Doors: 7:00 pm / Show: 8:00 pmCrescent Ballroom
$21.00 - $23.00
This event is 21 and over
Special offer! A digital download of Cult’s forthcoming album, Offering (available October 6, 2017), is included with every ticket you order for this show. You will receive an email with instructions on how to redeem this offer following your ticket purchase.http://www.crescentphx.com/event/1520331/
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. After the whirlwind of Static died down, Follin and Oblivion made a conscious decision to shift gears:
“I feel like we stepped into a tour van when we were 21, and basically didn’t get out of it for the next few years,” Oblivion says. “We wanted to give ourselves some space to have normal lives, and wait until there was something new to say.”
“It was exciting, because writing stopped feeling like a homework assignment. I was able to sit down and do it only when I wanted to,” says Follin. “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.”
Cults took their time, going through a few dozen discarded demos before arriving on a pair of songs that felt special– the rollicking, sweet-but-dark “Right Words” and the buzzy earworm “Recovery.” Once they had a direction, Follin and Oblivion enlisted longtime engineer Shane Stoneback to help guide the sessions, working bit by bit, never rushing, letting the material develop naturally.
Offering will thrill ride-or-die Cults fans. Songs like “Natural State” and “Good Religion” balance on the same after-hours wall of sound that brought the band its early audience. The title track, a rolling goth-ed out anthem for the kids in the back of class is surely, somewhere in an alternate universe, soundtracking an 80s prom movie directed by Jim Jarmusch.
But Offering goes places Cults haven’t gone before. Pink Floyd was a big inspiration, freeing up the band to try new song structures and play with vintage synths, notably on the gorgeous, aching “With My Eyes Closed.” “I had the classic high school discovery of Pink Floyd, only I was 24,” laughs Oblivion. “I was in the back of the tour van, listening to Dark Side of The Moon on headphones for the first time, and I turned to the band and said ‘guys. GUYS.”
New Wave was also a touchstone, you can hear The Motels and Gary Numan’s influence on chugging pop gems “Clear From Far Away” and “I Took Your Picture.” None of these gestures are accidental, the band has developed a confidence in the studio and a strong, full sound. Gone are the days of chancing upon Garageband alchemy; Offering is the work of two artists who know what they want and how to make it happen.
Offering also marks the beginning of a more collaborative phase for Cults. The pair have always traded ideas, but for the first time they sat down to jam out ideas together in a room. Follin, who has always written her own parts, came into her own as instrumentalist during the Offering sessions, playing drums and keyboards throughout. Her equal partnership with Oblivion flies in the face of a far-too-common industry assumption that women are passive participants in their own art.
After three years of work in New York, LA, San Francisco, in studios and sweaty living rooms, the band finished the bulk of recording. But it was a classic “last day in the studio” demob-happy session that gave the album its opener and title track, a hope-in-darkness song that Oblivion calls “one of the most outward-looking things we’ve done, it’s a lifeline.” Follin adds: “we both decided independently of each other that it had to be the title.”
“These songs have both instability and solutions for how to deal with instability,” Oblivion says. “I think my favorite lyric is from “Took Your Picture”: Tinge of blue/To the end/left our hearts/With regrets/I’m learning. That’s as close as you get to a thesis statement for the album.”
“We’re in a happier place,” Follin adds.
“I mean, the last track on our last album was called ‘No Hope,’” Oblivion says, and they both laugh. “The first track on this record is called ‘Offering.’ That pretty much says it.”
Written by Fred Nicolaus
Alongside her friend and bandmate Kyle Jukka, she has summoned ‘She-Devils’: a channel through which Audrey Ann and Kyle explore the sensory world, actualize aesthetic fantasies and alchemize pieces of history into entirely new sensations.
Through primitive electronic gear, hypnotist vocals, and an “amusement park of sounds”, the duo’s album constructs a fun-house world of beautiful chaos. The music is built from original sonics inspired by everything from Iggy Pop to Madonna to T-Rex to Can, as well as the romantic longing of ‘60s yé-yé.
The pair met four years ago while living at a music rehearsal space in the Mile-Ex neighbourhood of Montreal. “We were like wild animals, kind of fearful and just surviving,” recalls Kyle, “But we had certain obsessions and needed to build something out of them, to transcend our lives and express our visions and inspirations.” In this state, Kyle and Audrey formed a friendship based on a love of the dreamy and the beautiful. “She-Devils is a ship we built to sail us away to a better place,” says Audrey.
The band played gigs for about eight months though they did not record right away. Making music together meant following their own rules and taking things one step at a time. “I never sang before starting She-Devils,” says Audrey. “I have to learn just by doing it, through intuition. I learned vocal warm-ups I found online so I could train the reflexes of my body, since it’s kind of like training my body’s ability to respond to intuition.” Following instinct is a crucial part of She-Devils’ identity.
Striving to make music that feels “as visual as possible,” the band hopes to strap listeners into a rollercoaster ride “with Audrey’s voice as the centrepiece to cling to.” The duo are inspired by the cinema and art of Gregg Araki, Yayoi Kusama, Andy Warhol, John Waters and Quentin Tarantino. They direct their own videos. Audrey creates the artwork that accompanies the music. Her self-taught style evolved by watching hours of Disney movies, The Simpsons and Powerpuff Girls. “Those influences are very present in my drawings and paintings,” she says.
Audrey is also musically self-taught. In fact, she had never even played music before forming She-Devils. “I’ve always seen music from the perspective of an artist or music lover rather than that of a musician,” she explains. “When I sing over a loop, I don’t feel like I’m in control of what I do, or that I am cerebrally engaged with making music, it’s more like my subconscious is completely taking over my mind and it just comes out of my dreams.”
You only have to listen to the album to understand what Audrey’s saying. Dig a little into her lyrics and this entrancing quality becomes even more palpable. “There’s a place where we can go / Right here if you let me take you in / I know that this is for real / I saw the look in your eyes,” she croons on ‘Never Let Me Go,’ over Kyle’s woozy, layered guitars.
Elsewhere on the album, standout tracks include ‘How Do You Feel’ - a swirling fantasia about adolescent love - ‘You Don’t Know’, with its trebly jangle-pop, and ’The World Laughs,’ which hits a high of creepy rock ‘n roll psychedelia.
Kyle and Audrey think they fit together perfectly. “I try to use my ears to travel, and like a traveller I want to feel sonic emotions and hear things I haven’t before, that’s the excitement of it,” says Kyle, “The challenge is to make that into a cohesive work, but Audrey makes it so easy because she has this vibe as a singer that immediately connected with my imagination.” The connection of these two friends—their tensions, harmonies and oppositions—is probably the most crucial part of all. Their debut self-titled album arrives this May.
Hideout - Rookie is comprised of eleven tracks written and recorded over the course of the last 2 years. “Cory and I live on opposite sides of the country, so writing and recording takes time,” notes Gabe. “I start with demoing songs in my apartment, usually just a guitar riff and a melody. I then send it off to Cory who works on rhythms. We talk about it on the phone, and in person when our schedules allow us to meet up. We both tour in Cults so sometimes we work in hotel rooms or backstage or in the van.”
Reminiscent of early Bowie, Hideout - Rookie is complete with gritty guitar loops and ethereal vocals singing tales of abduction and space travels. “I’m really into Sci-Fi,” Gabe laughs. So much so that three songs on the album are actually an interconnecting story, starting with Skylights, which tells of a young boy’s kidnapping by “lights in the sky.” The boy is returned home with no recollection of his family or life before the lights. Battle Lights gives the listener a peak into the boy’s life a few years after his return. Now having visions, the boy hears voices that tell him to preach the lessons learned during his space journey. And of course, he’s seen as delusional. Stronger is told from the perspective of the boy’s mother. After he is committed, she sits in his hospital room wondering where she went wrong. Was there more she could have done? The visions have taken over.
Hideout - Rookie transcends listeners to a world of fantasy while evoking sounds of one of rock’s greatest eras.
Hideout - Rookie hits streets November 4th via Thrill Me! Records.