Dark rock band The Cult Sounds has been covered by S&S before, such as in this introductory interview and this review of their Halloween compilation.
Their lineup is Bennett Huntley (vocals), Ryan McBride (lead guitar), Jordan Hageman (rhythm guitars, keys, programming), Wyatt Eagen (bass), And Justin Riley (drums).
Fortunately, we’ll see much more of them in the future. Their newest LP, Death of a Star, is scheduled to release sometime in 2021.
McBride tells me that, compared to their previous works, this one will be more “ambitious.” “We definitely weren’t afraid to take risks and incorporate different musical styles or genres when writing,” he tells me. “Also, this year has given us nothing but time to make everything just how we wanted, then listen to it over and over and go back and make any changes we felt the songs needed. If we were finding our identity with the first ep, then on this record we’re seeing how far we can take it.”
Hageman seconded this. “We really pushed our songwriting even further and experimented more. He continued by saying that “this record takes more of our inspirations and influences than we got to explore on the first EP – we brought in bits of things outside of Post-Punk and Goth to add to the palette of sounds and textures.”
Bouncing off that note of genre elements, McBride states “moving forward, we’ve woven a lot of heavier elements into our already atmospheric sound, both musically and conceptually. Right from the onset of the album, fans will notice a marked difference in our approach to the album and it only goes up from there.”
Finally, Huntley pitched in. “Overall, it’s a huge step forward for us, in terms of what we felt capable or comfortable doing compared to when we first put out our debut EP, and even as far as what I think any of us has been a part of musically up to this point. It’s a complex record and I’m really excited to see it released. I still struggle when people ask me what kind of band we are, because I’m not even sure. Day to day, song to song, we take influences from everywhere and it’s constantly changing and forcing us to evolve our sound. The full-length format has given us the chance to explore that, to stretch our legs, and 2020 gave us the time to really mature and improve as songwriters. It’s a natural growth from our earlier material but also there’s plenty that I think might surprise our followers.”
I was given access to four tracks off it: “What Gets Done in The Night,” “Pale White Horses,” “Ritual Scars,” and “Afterlight.” Right off the bat on the first track, I can see the almost metal-styled speed, power, and aggression. “Pale White Horses” is a bit softer and could perhaps be qualified as a ballad. “Ritual Scars” picks the hard energy right back up and runs with it. This is a song I would happily scream-sing along to while driving a car down a highway. Finally, “Afterlight.” It starts with a strong guitar riff that reminds me of 80s hair metal in a good way. The vocals are intense, and the energy is still nice and high.
I asked if there was any such retro influence for that particular track.
Hageman responded, telling me “as far as Afterlight goes I think there’s always some retro influences because we are influenced by a lot of music from the 60’s, 70’s, and 80’s as well as the music we grew up with like AFI, Alkaline Trio, Marilyn Manson, Nine Inch Nails, Type O Negative, My Chemical Romance, etc. We never consciously go into a piece of music with a preconceived notion of wanting to capture a decade or a sub-genre since we plot the songs as we go in writing them pulling different ideas for each section wherever that inspiration comes from at the time.”
There’s also an accompanying music video for “What Gets Done in The Night.”
It’s incredibly cinematic and smoothly shot. After almost two minutes of tense introduction, the band comes into view. As they play, we see various props around the room such as candles and an animal skull. They’re playing in a vividly painted room, which the camera gracefully pans across. The band toasts with glasses of an unknown liquid. Together is makes for an almost eerie or occult vibe, in a subtle way. This nicely accompanies the repeated lyrics concerning the devil.
I asked about the occult aspects, and Hageman confirmed my assessments. “There’s definitely some occult imagery in the video to go along with the concepts of the song’s metaphors and we also were heavily influenced by 70’s horror films and wanted to do as much of that as we could.”
I wondered if this occult theme goes through the rest of the album, too.
Huntley responded that “I think some of those references to the occult appear naturally in most of what we do. It’s a big part of what inspires us across the board, whether it’s from music or movies or literature. Black candles, rituals of the flesh, devils and demons, that’s what rock n roll is all about!”
“The title “Death of a Star” can be taken many different ways,” Hagemen added, “and each song explores the concepts of death in different facets and aspects in our everyday lives and in our culture.”
So, that concludes things. Death, rock, and a mini film- all things to look forward to with this new material!