EVERY MAN AND WOMAN IS A STAR
(E.M.A.W.I.A.S.) - CAPSULE 1
Released: 14th September 2010
Producer: Chris Goss
Label: Aderra Media Technologies
- Every Man And Woman Is A Star
- Rain (Live) - Recorded August 1, 2010 at Knebworth, UK*
- Brother Wolf, Sister Moon (Live) - Recorded on the LOVE LIVE Tour*
- FILM - Prelude to Ruins by Ian Astbury and Rick Rodgers*
* additional tracks
Embracing new media technologies The Cult worked with Aderra to release Capsule 1 in various formats including CD/DVD DualDisc, 12 inch vinyl, USB flash drive, FLAC download and Mp3 download.
Tracks 1 and 2 also appeared on the Deluxe edition of Choice of Weapon on an additional CD with all four tracks that made up Capsule 1 & 2
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
“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)
* taken from FB @officialcult