The Cult
Hidden City

Very few bands embody the concept of a "cult" band as well as The Cult. A comparison so banal that it is right under our noses, but there's nothing truer: capable of producing great rock albums in the 80s (and not only then), they never quite managed to be counted among the true greats of the genre, as they perhaps deserved, despite a masterpiece, and also a cult album, like "Love." Certainly, their attitude of changing their style with each album hasn't helped to place Ian Astbury and Billy Duffy's band into a consistent musical path, despite the (almost) always personal nature of their music, which is highly recognizable in the vocal and guitar qualities of the two main members. However, it's essential to highlight their unique attitude as trendsetters, their capability to completely reinvent themselves between albums (notably in the case of "Love" and "Electric"), and their role as precursors of the late 80s Hard Rock that brought bands like Guns or Skid Row to the forefront. Yet, they remain strongly indebted to the classic Rock of the 70s. A sort of somewhat bland position between past and future.

However, rather than questioning whether The Cult have harvested what they sowed, it is far more important to talk about music. And in the brand-new "Hidden City," there is truly some beautiful music. In fact, one could perhaps speak of one of the best albums (which makes ten) from the English band. Just to be clear, "Hidden City" does sound (obviously) Hard Rock but frequently winks at New Wave. Perhaps for the first time since "Love," The Cult sees the return of that very personal gothic component from the first two gems (indisputably the best, in the opinion of the writer) from the English band. But in "Hidden City" there is also more; there is also everything The Cult have been after the already frequently mentioned (mentioned never enough) "Love": references to "Electric" are evident in some tracks, yet inevitably this work is also akin to the most recent albums produced by The Cult. But what thrilled me the most in this respect is the resemblance, in certain moments, to the forgotten album of The Cult, the beautiful "Peace," which the band considered an illegitimate offspring—that album was re-recorded with Rick Rubin as producer, transforming it into "Electric" with heavier, more classically rock and 70s sounds, but also less delicate, melancholic, dreamy, and, in a sense, sincere.

"Hidden City" thus seems to unite various elements that The Cult have experimented with over the years among themselves, but it’s not just that; the new endeavor sounds delicate, refined, and more introspective than any album ever produced by the English band. The cover could not have been more fitting, with that white flower elegantly stained with small splashes of blood, and the title, which alludes to something hidden, inviting introspection. In terms of sensation, this is "Hidden City."

But there's also the class, the temper of seasoned musicians, the quality of the songwriting. Duffy fully demonstrates his state of grace, and Astbury, even though his voice is no longer what it once was, offers moments of great expressiveness and emotional involvement. All this condenses into tracks of great quality, like the explosive "No Love Lost," where Ian's lyrics and Billy's guitar once again show how remarkably well they work together, in a constant crescendo of intensity. Significant is one of the singles, "Hinterland," darker, with its repetitive and vaguely soporific (in a good way) New Wave riff, perfectly balanced by a chorus with which the piece unleashes all its interiority. Certainly one of the best tracks on the album. "Dark Energy," on the other hand, brilliantly fulfills its role as an opener—captivating and rocking just right, while "Birds of Paradise" is more reflective and more reminiscent of the early Cult. The closing track, "Sound and Fury," is also astonishing, a very delicate ballad where the spotlight is on Ian's voice and the piano. However, the album is not perfect, and in the twelve tracks, there are a few that are underwhelming, while overall there may be a slight decline in the second half of the tracklist.

But certainly, a couple of less brilliant tracks won't make us forget the beauty, the quality of an album like "Hidden City," which is full proof that The Cult has been and still is a great Rock band, which, indeed, has reaped less than it sowed.