* taken from FB @officialcult

As fans anticipate THE CULT's upcoming performance at the Sonisphere festival at Knebworth, U.K. on August 1, 2010, the band has announced the release of its first new studio recording since 2007, "Every Man and Woman is a Star". The new single is being released as a two-week exclusive through the iTunes store. This is the lead-off track of a four-song "capsule" scheduled to be released in fall of 2010.

Rock fans worldwide will immediately recognize Billy Duffy's blistering guitars and Ian Astbury's powerful vocals soaring over a relentless beat.

As a thank-you to fans for their support, limited-edition "Cult Destroy Knebworth" shirts will be distributed as the band take the stage at Sonisphere.

* taken from FB @officialcult

The Cult will release the first of its recent recordings on September 14 on the newly formatted "capsule" collection (the capsule format being the vision of singer Ian Astbury).

Through a partnership with Aderra Media Technologies, THE CULT's capsule will consist of two new songs — "Every Man And Woman Is A Star" and "Siberia" — plus live recordings from the recent internationally sold-out "Love Live" tour, as well as the short film "A Prelude to Ruins" (directed by Ian Astbury and Rick Rogers). The capsule will be available in several formats, including MP3, CD/DVD (DualDisc) and 12-inch vinyl in limited quantities for a limited time. The first song, "Every Man and Woman Is A Star", was debuted at Sonisphere and released the same day as an iTunes exclusive. The latest recordings were guided by legendary producer Chris Goss (QUEENS OF THE STONE AGE, MASTERS OF REALITY) and are described in a press release as "a mixture of violent guitars, emotive vocal performances with high melody and driving beats."

In 2009, Aderra recorded several live shows on THE CULT's U.S. and European tours, including a sold-out appearance at the Royal Albert Hall in London. The live recordings were released exclusively through a USB flash drive housed in a dog tag necklace. The success of this initial project lead to this partnership to release the new capsule material on multiple formats.


EMAWIAS, DUALD, CAPSULE1, USA, 4 tracks + video ´Prelude2Ruins´
EMAWIAS/Siberia, 12", USA, limited edition of 1000
EMAWIAS/Siberia, 12", USA, limited edition of 1000, insert signed by the band

EMAWIAS/Siberia Limited Edition #43/100, 12", USA, transparant vinyl, certificate, white stickered sleeve 

IA: “Embers” was a real moment. I lived through that. It was a very intimate moment, a very honest, authentic moment. The thing I love the most about that song is the space in it. All joking and histrionics aside, there you are: raw, open, vulnerable, and intimate. Breath on breath. When you’re that close to someone, breathing in their face, the energy between two people, you’re not even speaking. It’s a space that’s really difficult to get to. If you can get to that space and work in that space, powerful things can happen. Chris Goss was the one who created the environment for that to happen.

“Every Man and Woman is a Star” is… Well, it’s the thing I’ve talked about before, growing up with Bowie and T. Rex and the 7-inch singles. That’s just the kind of format we got into, writing those three-minute pop songs. Then, I tacked on Aleister Crowley’s statement, “Every man and woman is a star.” I love that sentiment. Everyone has equal value. It breaks my heart when you see people come up and say, “I don’t really have anything to offer.” You’re like, “Dude, stop, you’re killing me. Of course you do.” To go back and talk about those dirty little rock stars, they think they’ve got everything to offer, and they’ve really offered nothing. In fact, they haven’t even been real with themselves. They’ve scammed us with their pretty faces and their tight trousers. [Laughs.]

But human beings are all very vulnerable, and I think that if we can show that vulnerability to each other and put the fucking stick down, we don’t need to beat each other. We can build each other up. But how often does that happen? We go into the fear modality very quickly. So we always celebrate that. And that’s why people like The Cult, and why we rub people the wrong way. I think it pisses off the critics and social commentators that I come out with this constant earnestness about building people up. ’Cause people don’t want to hear it, they’re so attached to their fears and prejudices. And I’m like, “No, c’mon, stop. Please. We’re done. Why are you still fighting? We’re done here. How much more do we need to do? Let’s start getting into it and start building this thing back up. Let’s work together and share that energy. Enough. No more.”

AVC: The implication around the time of the Capsule EPs was that there were to be no more Cult LPs.

IA: Yes, that was my implication. [Laughs.] I’ll hold my hand up for that one.

AVC: So did democracy win out in the end? What happened?

IA: No, it was just the Capsule EPs were a very valid statement, in the sense that I thought, “What’s the point in making albums? People are just gonna rip them to shreds, anyway.” If Mr. Social Commentator doesn’t like it, it’s done in six weeks, but you’re still out on the road for six to eight months, grinding it out. And if the radio stations—what’s left of them—aren’t playing it, then you’re out in this kind of cultural wasteland, where people are picking and choosing songs. Who decided that singles were worth 99 cents? Who decided that my art is worth 99 cents? I didn’t decide that. I don’t think any artist did. And who decided that it was a good idea to give music away for free? Which fucking genius came up with that idea? Even prostitutes get paid!

What comes out of that is a feeling of, “Okay, let’s take this back, let’s put this over in a way where we know we’re gonna connect. Let’s give ’em two songs instead of 10, but let’s do it over a period of time so we can spoon-feed our audience.” And it was good for us. We didn’t have to pressure ourselves into coming up with 20 songs. I thought it was great. But you’re putting the same amount of energy and effort into each of those Capsule EPs in terms of promotion and marketing, artwork, film elements. It was a very ambitious thing to do. Meanwhile, people are banging on our doors with deals. We’re getting offered different deals, different denominations, agents coming in saying, “Hey, we’d love to sign you guys, but for $25,000.” This is a major label! It’s like, “Are you fucking kidding me? You can maybe get away with that for a band of 23-year-olds and just rape them, but, no, dude, c’mon, we’re worth way more than that.” Actually, we can’t do anything for $25,000. That’ll barely keep my missus in panties for a week. [Laughs.]

So we took the bull by the horns, took control, and it was good for awhile. But then we got more people banging on the door, Cult fans going, “This is amazing, we want more,” and we’re like, “Oh, are you fucking kidding me? Now we’ve had the chance to breathe and got space to create things like these songs, they want more.” So it was like, “Oh, okay, fuck it.” Because the thing was, the material was there. So all of a sudden, what was going to be Capsule 3, 4, and 5 became Choice Of Weapon, which isn’t to say that there won’t be a Capsule 3, 4, and 5. Because I think it’d be a great way for us to segue into another album. If we decide to make another album, which is looking pretty likely. We’re all very excited now, because we’re like, “Oh, we’re smart, we’ve created this Capsule format, we can go to that any time we want.”

(from The AV Club interview w/ Ian Astbury - jun 7, 2012)