They say that everything comes full circle. That’s most definitely the case with The Cult’s latest album, Under the Midnight Sun. The band famously established themselves as leaders of UK’s goth rock/post-punk movement in the first half of the 80s, even scoring commercial success with their sophomore album, Love (1985). They had broken just about everywhere except where it mattered most to record companies: America. In an effort to do so, the band 180’d with their third album, Electric: A sweaty, four on the floor hard rock album in the tradition of Led Zeppelin and AC/DC.
Unlike other alternative bands who attempted a hard rock transition come the late 80s (see T.S.O.L.), The Cult’s was welcomed with both commercial and critical success. In fact, they became an even bigger hard rock band than they were a goth band. Albums like Electric (1987) and Sonic Temple (1989) were both certified platinum and scored a plethora of rock radio hits, many of which still get played to this day: “Love Removal Machine”, “Fire Woman”, “Wild Flower”, “Sweet Soul Sister”…I could go on. It only made sense that subsequent albums followed in this mold. If it ain’t broke, don’t fix it…right?
In what is a rather startling return to form, Under the Midnight Sun sees The Cult fully embracing their early goth ways. Yes, the guitars can be hard at times, but here they’re executed in a much more atmospheric and textural manner as opposed to the sweaty, sultry, Jimmy Page-esque swagger we’ve come to know and love. The main focus isn’t the riffs or even the hooks, as much as it’s the songs and accompanying mood. And you know what? For an 80s goth throwback album, this doesn’t feel disingenuous at all. The Cult can still compose and arrange a brooding goth hymn as well as they can a balls out hard rocker.
Gloom and doom prevails in an almost dreamlike fashion on cuts like the lush “Mirror”, abrasive “A Cut Inside”, and hypnotic “Give Me Mercy”. Being a metal journalist, I can’t help but hear shades of goth metal contemporaries Unto Others and Tribulation when the riffs take control. In the same breath, those are two of just many modern acts who owe their careers to The Cult. On the opposite end of this goth spectrum are lengthy, sublime pieces with emphasis on dramatic strings and haunting lyrics. Dare I call it “prog goth”? “Outer Heaven” and “Knife Through Butterfly Heart” are masterclasses in this bizarre approach, as is the closing title track which demands the listener’s attention.
As much as I enjoy The Cult’s 21st century output, there hasn’t been one album that I’d put on par with their classic releases until now. Once your average headbanger can get it our of his or her skull that this isn’t a hard rock album, I think they will truly appreciate the musical and songwriting brilliance on display here. Will The Cult ever drop a hard rock album again? That remains to be seen, but with an album as strong as Under the Midnight Sun, I hope they don’t shake their goth streak anytime soon.
8 out of 10
Label: Black Hill Records
Genre: Gothic Rock
For fans of: The Fixx, Echo & The Bunnymen, Unto Others