Every summer needs its soundtrack; a record to listen too while sitting on the porch and drinking beer, or relaxing in the pool, an album to play at parties, or in your car on a sunny day. It needs to be an album that is upbeat and accessible enough that it can satisfy a large amount of people and blend into the background at gatherings, but compelling enough to listen to alone while basking in the sun. Last year it was Best Coast's "Crazy For You," the year before that it was Phoenix's "Wolfgang Amadeus Mozart," the year before that MGMT's "Oracular Spectacular;" all albums with hooks aplenty, but also numerous subtle nuances to please more discerning listeners. Cult's self-titled debut, a mixture of classic 60's girl-group sonics and melody with indie-pop is easily my vote for summer album of 2011.Cults are Madeline Follin and Brian Oblivion. Originally from San Diago, the couple have since moved to New York City, but a sunny west coast vibe still permeates their music. Of course, that west coast vibe has been dominating indie-rock for the past few years, as has 60's girl-group sonics, but there is something just different enough about Cults to make them stand out. For one their instrumentation is far cleaner and sparser than similar artists Best Coast and Dum Dum Girls. Also their sound is far more indebted to Lesley Gore and the Shangri-Las than anyone else thus far.
Admittedly though, in trying to describe the band's sound, and do it justice, I am having difficulty. It would be easy just to say that these songs are coated in a Spector-like wall of sound, which they are, but even that doesn't quite sum it up. What is most compelling about the band's approach is that there is little to no distortion present on the record, instead beats, bass and drums drive the band's sound, while chimes and keys provide a shiny glittering atmosphere throughout. The album was co-produced by Cults and Shane Stoneback, who is known for producing Vampire Weekend and Sleigh Bells. There is a subtle co-relation in sound between Sleigh Bells and Cults that is likely a result of Stoneback's participation. Both bands rely on massive supporting beats, but Cults' are never distorted or overpowering, whereas Sleigh Bells' always are. Instead Cults let the beats breath and focus on the pitch-perfect voice of Follin to provide the album's many addictive melodies. Those melodies are embedded in some rather intoxicating compositions as well. There are twists, turns, breaks and bridges throughout these songs, as well as what seems an infinite amount of subtle flourishes to please even the most discriminating listener (i.e. music snob). In other words, this is pop music with a brain.
Lyrically the band focuses on themes of abduction and escape, whether it be from a shitty relationship or more generalized repression. Oblivion explained the theme of the band earlier this year in an interview with Pitchfork:
"A lot of the idea of the band and its name is the idea of liberation, of choosing your own way of doing things. Madeline and I both had weird times in our life before we met up and got together and, through the music, got into a really good place. It's about finding your own meaning and how something that's potentially looked down upon doesn't necessarily need to be bad."
That lyrical emphasis on individual liberation only adds to the freeing, breezy nature of the album. If there were ever a feel-good break-up/fuck you album, this is it.
If summer is that time of the year when we cast off the constricts of winter and embrace the carefree nature of its long sunny days, then there simply is no better album for the season than Cults. Lyrically and musically, this record is tailor-made to soundtrack the best summer of your life, so buy it already and start living it like you should. This easily gets my highest recommendation possible.
"Abducted"
"Runaway" live
"Go Outside"
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