The Cult
Electric

THE REVIEW

Sly, cunning, perfect trend followers, yet extremely fascinating.

I'm talking about Ian Astbury and Billy Duffy, of course, a Welshman raised in the myth of Jim Morrison and a deep connoisseur of Native American culture, and a guy from Manchester who hid a 70s rocker soul behind the dark gothic-punk appearances of the early eighties.

A strange creature, capable of uniting under one banner the dark boys recovering from the end of punk, and the dirty and rough street rockers that would emerge in the late 80s.

Always criticized for being unoriginal, but in fact forerunners and inspirers first of that gothic rock born from the ashes of darkwave (Mission who, among other things, opened for the Cult several times at the start of their career, Fields of Nephilim) and later of the street rock that was brought to worldwide prominence by Guns n' Roses with "Appetite for Destruction" (the Cult's drummer at the time of "Sonic Temple", Matt Sorum, joined the Guns in "Use Your Illusion I & II and is still the drummer for Slash's band, namely the Velvet Revolver).

After the unexpected success of the album "Love", which became the best-selling gothic rock record of all time (more than the Cure's trilogy, Sisters of Mercy, Joy Division, and Bauhaus), Ian and Billy finally shed the gothic clothes and poses to don the outfits that suited them best, those of rockers.

Thus "Electric" was born, full of sonic references to 70s rock that the two Englishmen were in love with (Led Zeppelin, AC/DC, Rolling Stones, Cream).

With this change of skin, Ian Astbury finally unleashed the stage animal energy he possessed and was able to best extend his warm and sensual voice, even though his demeanor was far too indebted to the lizard king, his youthful idol.

"Electric" is an excellent hard rock blues record. Just simply blood-pumping, energetic rock without frills. The kind that makes you hit the accelerator when you're in the car, or makes you jump and dance when you're in a club or at a concert.

Listening to the barely three minutes of "Lil Devil" will make you want to grab a guitar and slightly spread your knees in that typical cocky pose that Slash borrowed from Billy Duffy. And when you listen to "Wild Flower", you'll feel the instinct to climb onto the highest speaker and jump on stage following Astbury's example in the song's clip.

However, no track stands out compared to the others (except for the aforementioned "Lil Devil" which, due to its driving energy and also its short length, I put on more often than the others).

From the opener "Wild Flower" to "Aphrodisiac Jacket", passing through the Steppenwolf cover "Born to be Wild", "Love Removal Machine" and all the others, "Electric" you'll gulp it all down, like a double Jack Daniels at your trusted bar.

100% guaranteed rock.