Frontman Ian Astbury has almost figured out that if he puts high-pitched wails in his songs that can't be duplicated live every night, the spark fades a bit, so his voice hangs more in the lower register this time. The tracks are going for drama and depth again, but the tempos remain mid and the rocking is left mostly to the drums. Now, with UNDER THE MIDNIGHT SUN, they go all the way off the beaten track again, but this is different. After a few albums of solid slamming, they've inched back on the last couple of sets toward the cinematic and melodramatic. The songs were widescreen, mature, yet rocked every bit as hard or harder than their most rocking tracks. Later, they went all the way with the BEYOND GOOD AND EVIL album, to amazing results. The Cult have flirted with this before, peppering albums with tracks with more cerebral than carnal aims before getting back to slamming. A statement must be made, a "look what I can do" departure from the norm - not far enough that you can't tell who they are, but enough to show that they have more avenues to ride if the main road runs out of asphalt, temporarily or otherwise. A statement must be made, a "look what I can There comes a time in every rock and roll band's life when just rock and rolling isn't enough. There comes a time in every rock and roll band's life when just rock and rolling isn't enough.
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