“‘Spit You Out’ spends its verses spinning on tip-toes through hazy synth notes, only to kick it out on a buzzing chorus of squealing guitar lines that could be a My Bloody Valentine sample.” – Consequence of Sound
“Remarkably atmospheric.” – Variety
“A witchy dream-pop track that channels the creepiness of an abandoned opera house” – Entertainment Weekly
“…a hard-hitting effervescent drum beat, and an array of synth sounds that split the difference between Nine Inch Nails and My Bloody Valentine. Yet it feels much lighter and airier than those references imply.”– Stereogum
“…radical reimagining of the band’s usual sound, style and dynamic.” – HYPEBEAST
“Song is oddly fitting for the present moment” – Paste
Best Songs of the Week – Under The Radar
“Has one foot in ’60s girl groups and the other in more modern pop” – BrooklynVegan
“‘Spit You Out’ is a solid and satisfying song about growing and moving on from past mistakes.”– EUPHORIA
Today Cults, aka multi-instrumentalist/singer Madeline Follin and multi-instrumentalist Brian Oblivion, share their third single ‘No Risk’ off their fourth studio album Host out September 18 via Sinderlyn. The peppy melody of ‘No Risk‘ is accompanied by a self assured sentiment that without taking risk, there is no reward. This follows the pulsating singles ‘Spit You Out‘ that Stereogum describes as “hard-hitting, effervescent” and Consequence of Sound compares to a “My Bloody Valentine sample” and ‘Trials‘ that Entertainment Weekly called “a witchy dream-pop track that channels the creepiness of an abandoned opera house” while Variety called it “remarkably atmospheric”.
Cults on ‘No Risk‘: Antithetical to the title, the song is all about the benefits of taking risks, and how difficult that can be as a woman when being constantly told in both transparent and subliminal ways that you’re “second best” or not worthy of the same voice. The song transforms the title from a place of complacency to a challenge to empower yourself.
Last Friday, Cultsperformed at Lollapalooza via YouTube. The band played all new material for the first time live, including ‘Spit You Out‘, ‘Trials‘, and soon to be released, ‘Like I Do‘. Watch their live set here.
Cults were deep into the process of recording Hostwhen Follin let a secret slip. “In the past, I’d never brought my own music to the table because I was just too shy,” says Follin. “When Shane and I heard what Madeline had written, we couldn’t believe it,” says Oblivion. “The music just floored us.” What followed was a radical reimagining, both of the band’s sound and its dynamic, and the result is Cults’ utterly mesmerizing new album. Host was co-produced by Cults and Shane Stoneback, mixed by John Congleton, mastered by Heba Kadry, and features Loren Shane Humphrey (Last Shadow Puppets, Florence and the Machine, Guards) on drums. Written more collaboratively than ever before and recorded primarily with live instruments for the first time, the collection marks the start of a bold new chapter for the band, one fuelled by an ever-deepening trust and a boundless appetite for growth and experimentation. The songs here are deceptively charming, with lush, airy arrangements that belie their dark, weighty lyrics, and the production is rich and multifaceted to match, blending retro and futuristic palettes into a spellbinding swirl of high-def indie rock and lo-fi bedroom pop. As its title suggests, Host is an exploration of the sinister dynamics at play in a parasitic relationship, but rather than dwell in the discomfort, the record charts a cathartic journey towards freedom and self-reliance, revelling in the power that comes from standing your ground and declaring independence in the face of exploitation and manipulation.
Formed while Follin and Oblivion were still just students in college, Cults released ‘Go Outside‘. Both a commercial and critical smash, the track would go on to rack up more than 40 million streams on Spotify, land in soundtracks everywhere from Broad City to Gossip Girl, and help the band score a major label deal for their self-titled debut, released the following year on Columbia Records. Pitchfork called the album “catchy and sweet,” cutting “1960’s girl-pop…with synths, guitars, and softly integrated samples,” while the New Yorker lauded the band’s “agonizingly catchy vintage-pop”. The duo followed it up with the similarly celebrated ‘Static’ in 2013, and they returned in peak form four years later with ‘Offering‘, that Billboarddescribed as a “luxury…(head)banger,” and AV Club praised their music “a magic carpet ride over hand-clap-heavy canyons of California pop”. Over the years they’ve built up a devoted audience along the way through relentless headline touring and festival appearances at Bonnaroo, Lollapalooza, Coachella, Austin City Limits, and more.