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Cults|To the Ghosts

To the Ghosts by Cults

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In the years that followed 2020's Host, Cults experienced viral success that catapulted "Always Forever" (from 2013's Static) and "Gilded Lily" (from 2017's Offering) to platinum and gold status, respectively, in the U.S. ("She Knows," their J. Cole collaboration, went platinum in the U.K.). That Madeline Follin and Brian Oblivion's back catalog found new life on social media is just another example of how easily they meld pop's past and future -- their songs sound as good in viral posts as they would playing on a soda shop jukebox or in a flying car. The duo created To the Ghosts in marathon writing and recording sessions during the COVID-19 global pandemic, and Follin and Oblivion's intense focus often puts the spotlight on their timeless melodies and songwriting. This is most apparent on "Hung the Moon," the twangy lullaby that closes the album, but the ways Cults return to their fundamentals are never simple. They find fresh angles on the 1950s and '60s pop influences they use so charmingly on "Crybaby," where they wink at wallowing with breezy girl group harmonies, percolating electronics, and spacey sound effects that would make Joe Meek proud. It's an instant Cults classic along with "Left My Keys," which creates a mirage of the past that never existed set to handclaps and a Motown bassline. Oblivion and Follin have always been avid pop scholars, but their references are especially nimble on To the Ghosts. They flirt with baroque pop and '70s AM pop on "Crystal" and "Knots," evoke Suicide and the Magnetic Fields in equal measure on "Leave Home," and even riff on their own past in "Honey" with playground sounds that hark back to "Go Outside." Cults also continue Host's panoramic experiments, delivering highlights with "Eat It Cold"'s ambitious electro-pop meditation on how traditions and secrets can devour you and with the elegant menace -- and surprisingly heavy undertow -- of "Open Water." After more than a decade of making music, Cults still aren't as easy to pin down as might be expected, but To the Ghosts reflects how they've endured without compromising the innocence and artful popcraft at the heart of their sound.

© Heather Phares /TiVo

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To the Ghosts

Cults

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1
Crybaby
00:02:54

Madeline Follin, Composer, Writer - Brian Oblivion, Composer, Writer - Cults, MainArtist

© 2024 Cults under exclusive license to IMPERIAL ℗ 2024 Cults under exclusive license to IMPERIAL

2
Left My Keys
00:03:17

Madeline Follin, Composer, Writer - Brian Oblivion, Composer, Writer - Cults, MainArtist

© 2024 Cults under exclusive license to IMPERIAL ℗ 2024 Cults under exclusive license to IMPERIAL

3
Onions
00:04:10

Madeline Follin, Composer, Writer - Brian Oblivion, Composer, Writer - Cults, MainArtist

© 2024 Cults under exclusive license to IMPERIAL ℗ 2024 Cults under exclusive license to IMPERIAL

4
Crystal
00:02:34

Madeline Follin, Composer, Writer - Brian Oblivion, Composer, Writer - Cults, MainArtist - Shira Small-Cangialosi, Composer

© 2024 Cults under exclusive license to IMPERIAL ℗ 2024 Cults under exclusive license to IMPERIAL

5
Leave Home
00:03:00

Madeline Follin, Composer, Writer - Brian Oblivion, Composer, Writer - Cults, MainArtist

© 2024 Cults under exclusive license to IMPERIAL ℗ 2024 Cults under exclusive license to IMPERIAL

6
Eat It Cold
00:04:19

Madeline Follin, Composer, Writer - Brian Oblivion, Composer, Writer - Cults, MainArtist

© 2024 Cults under exclusive license to IMPERIAL ℗ 2024 Cults under exclusive license to IMPERIAL

7
Honey
00:04:09

Madeline Follin, Composer, Writer - Brian Oblivion, Composer, Writer - Cults, MainArtist

© 2024 Cults under exclusive license to IMPERIAL ℗ 2024 Cults under exclusive license to IMPERIAL

8
Knots
00:02:53

Madeline Follin, Composer, Writer - Brian Oblivion, Composer, Writer - Cults, MainArtist

© 2024 Cults under exclusive license to IMPERIAL ℗ 2024 Cults under exclusive license to IMPERIAL

9
Behave
00:02:43

Madeline Follin, Composer, Writer - Brian Oblivion, Composer, Writer - Cults, MainArtist

© 2024 Cults under exclusive license to IMPERIAL ℗ 2024 Cults under exclusive license to IMPERIAL

10
Open Water
00:03:21

Madeline Follin, Composer, Writer - Brian Oblivion, Composer, Writer - Cults, MainArtist

© 2024 Cults under exclusive license to IMPERIAL ℗ 2024 Cults under exclusive license to IMPERIAL

11
Cells
00:01:44

Madeline Follin, Composer, Writer - Brian Oblivion, Composer, Writer - Cults, MainArtist

© 2024 Cults under exclusive license to IMPERIAL ℗ 2024 Cults under exclusive license to IMPERIAL

12
You're In Love With Yourself
00:04:12

Madeline Follin, Composer, Writer - Brian Oblivion, Composer, Writer - Cults, MainArtist

© 2024 Cults under exclusive license to IMPERIAL ℗ 2024 Cults under exclusive license to IMPERIAL

13
Hung The Moon
00:05:28

Madeline Follin, Composer, Writer - Brian Oblivion, Composer, Writer - Cults, MainArtist

© 2024 Cults under exclusive license to IMPERIAL ℗ 2024 Cults under exclusive license to IMPERIAL

アルバム·レビュー: To the Ghosts - Cults

In the years that followed 2020's Host, Cults experienced viral success that catapulted "Always Forever" (from 2013's Static) and "Gilded Lily" (from 2017's Offering) to platinum and gold status, respectively, in the U.S. ("She Knows," their J. Cole collaboration, went platinum in the U.K.). That Madeline Follin and Brian Oblivion's back catalog found new life on social media is just another example of how easily they meld pop's past and future -- their songs sound as good in viral posts as they would playing on a soda shop jukebox or in a flying car. The duo created To the Ghosts in marathon writing and recording sessions during the COVID-19 global pandemic, and Follin and Oblivion's intense focus often puts the spotlight on their timeless melodies and songwriting. This is most apparent on "Hung the Moon," the twangy lullaby that closes the album, but the ways Cults return to their fundamentals are never simple. They find fresh angles on the 1950s and '60s pop influences they use so charmingly on "Crybaby," where they wink at wallowing with breezy girl group harmonies, percolating electronics, and spacey sound effects that would make Joe Meek proud. It's an instant Cults classic along with "Left My Keys," which creates a mirage of the past that never existed set to handclaps and a Motown bassline. Oblivion and Follin have always been avid pop scholars, but their references are especially nimble on To the Ghosts. They flirt with baroque pop and '70s AM pop on "Crystal" and "Knots," evoke Suicide and the Magnetic Fields in equal measure on "Leave Home," and even riff on their own past in "Honey" with playground sounds that hark back to "Go Outside." Cults also continue Host's panoramic experiments, delivering highlights with "Eat It Cold"'s ambitious electro-pop meditation on how traditions and secrets can devour you and with the elegant menace -- and surprisingly heavy undertow -- of "Open Water." After more than a decade of making music, Cults still aren't as easy to pin down as might be expected, but To the Ghosts reflects how they've endured without compromising the innocence and artful popcraft at the heart of their sound.

© Heather Phares /TiVo

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