Psychedelic with an undertone of techno, the musical duo comprised of Brian Oblivion and Madeline Follin, Cults, transport you to a dream-like state with their fifth studio album To the Ghosts.
Known for being one of the indie-pop gem artists with hits like “Gilded Lily” and “Always Forever” shining in their discography, Cults have created yet another work of art that gives space and word to a complex array of human emotions and experiences. At times the album stays true to its title and edges on haunting with raw lyricism and dark instrumentation, and at other times it expands and goes on a blissful sonic escape.
First in the track listing and the standout track of the album is “Crybaby”, a song that explores balance in relationships predominantly in the form of how codependency develops and how it can impact both parties in the relationship. Like much of their discography and other songs in the album, “Crybaby” follows the formula of upbeat instrumentation, contemplative and slightly depressive lyrics. It’s a tried and true recipe and Cults have it down to a T. With admittance of personal fault in a situation and blame placed on others, the song speaks to an authentic vulnerability that is achingly relatable yet a joy to listen to. Follin sings “I’m slowly losing sympathy / ‘What could it be / That occupies your mind?’, I screamed”, while various trills and percussion ease you into a comfortable jam.
“We can drive all night / we can go anywhere” Follin sings as the second song in the album, “Left My Keys”, picks up once again with upbeat instrumentation with strong drums and layers of syncopation in the keys. “Left My Keys” portrays a more hopeful perspective on relationships and life. The lyrics are sweet and simple, “Wrote your name on my hand / Now we’re under our old plans / I would trade a hundred days” allowing Follin to tell a lovely tale of devotion to growing up without letting fear of change control the wheel.
“Onions” differs starkly from the other tracks with its overall electronified tone that is supported by an array of synths and playful vocals. Lyrically, it explores a more sentimental side of dealing with existence and the troubles of feeling and witnessing time slip by. With lines like “We’ve been eating things that can hurt us / For a long time” and “Watch my young days pass me by / Wipe the teardrops from your eyes / It’s been seeming things were murderous / But we’re all fine,” Follin and Oblivion present listeners with thought-provoking insights into human emotion.
Fourth and fifth in the listing are “Crystal” and “Leave Home”. “Crystal” verges on psychedelia and is generally a happy tune inside and out. “Leave Home” is simple lyrically which allows the construction of the instrumentation to really shine as it steadily builds and takes flight.
“Eat it Cold” is the Cults returning to their roots of glitter and smokescreens. It is haunting and mysterious in its instrumentals, vocal delivery, and lyricism. Follin questions “Where are we now?” while also presenting the keen reflection, “Almost feel the secrets swallow us whole / All our mothers teaching all of us / All our mothers keeping all of us full.” It’s a vulnerable and personal debate between tradition and the realization of uncertainty in the lives we lead.
“Honey”, like its name, is sweet and to the point. It is a song about the purity of love and the way it feels to be loved and to love with a heart full of adoration. Coming in at the halfway mark is “Knots” which takes on a juxtaposed persona between dark instrumentation and a light delivery on the part of the vocals. The lyrics follow in a similar cadence as they weave a story of perception and reality. What resonates the most from “Knots” beyond the Phantom of the Opera-esque crescendo of the instrumentation, is the sentiment “You can tie yourself in knots just trying to be used / Without realizing.”
“Behave” is an experimental playground of a song for Cults. Like “Onions”, it takes on an electronic construction that is a nice addition to the Cults’ musical skillset. They are a band with range and “Behave” proves it.
As we reach the closing tracks of the album, “Open Water” showcases a beautiful opening of brass instruments that harks back to something akin to the likes of jazz. It’s a standout track all around with its expert instrumentation and lyrics that tell a story in vignettes of wit and observation for the ages about perseverance and holding out hope for those you love. “I hope you swim out in the open water now / Never floating / Right to the ocean floor”.
Haunting and full of adoration is “Cells”. With lyrics about finding comfort and hoping for a love that lasts, it’s a shame the song is so short as it is really one of the most beautiful on the album. As a whole, it is simple in all its elements and that is precisely what makes it so breathtaking. Follin contemplates the concept of forever, “‘Cause forever in a song / Can’t believe it could be wrong / With you,” and leaves you wanting the song to continue for just that.
“You’re In Love With Yourself” is the penultimate track on To the Ghosts, and it discusses a frustration with someone who stubbornly won’t accept help from Follin though she attempts to give it to them and make them drop their pretenses and hesitate about being outwardly true to themselves.
Wrapping up To the Ghosts, Cults have “Hung the Moon” which features a beautiful combination of horns and an orchestration that gives the song a classic quality that is just refreshed enough and made modern by band’s proclivity to add some sort of funky element through the warping of the guitar. The song is a chaotic slow dance beneath the moonlight full saccharine proclamations of love. “If I had the choice / It’d always be you” Follin sings closing out what is another outstanding project by the hypnotic duo.
To the Ghosts both romanticizes life and love while also providing a reality check that is much needed and somehow manages to be jarringly comforting. The album showcases all that we have come to know and love about Cults, while also allowing them to explore other sides of their creativity.
