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Deathstars (The perfect cult)

Overall, “The Perfect Cult” in all its 42 minute glory does not represent anything completely new or innovative, but then again, why should it? DEATHSTARS have clearly stuck with their proven formula for writing tracks. I find it difficult to assign this album a rating; on the one hand, critics will claim that “The Perfect Cult” is a pure recycling effort of all of DEATHSTARS’ previous melodies, whilst fans will likely claim that the band has distilled their unique sound, and that “The Perfect Cult” is the quintessential follow-up to “Night Electric Night”.


Tracklist:

01 Explode 4:56
02 Fire Galore 4:08
03 All The Devil’s Toys 3:59
04 Ghost Reviver 3:42
05 The Perfect Cult 4:02
06 Asphalt Wings 4:48
07 Bodies 4:37
08 Temple Of The Insects 3:52
09 Track, Crush & Prevail 4:04
10 Noise Cuts 4:13

Bonus Tracks

11 All The Devil’s Toys (8-Bit Version By Skinny) 3:04
12 Explode (Remix By Dope Stars Inc.) Remix – Dope Stars Inc. 5:31
13 Temple Of The Insects (Remix By Hacking The Wave) Remix – Hacking The Wave 3:42

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Biography of Deathstars:


Deathstars are a Swedish goth metal band that broke through to domestic mainstream success in 2009 with their third album, the Top Ten hit Night Electric Night. Founded in 2000 in Stockholm, Sweden, the band is comprised of Whiplasher Bernadotte (vocals; born Andreas Bergh in 1977), Nightmare Industries (guitar, keyboards; born Emil Nödtveidt in 1976), Cat Casino (guitar; born Eric Bäckman in 1988), Skinny Disco (bass; born Jonas Kangur in 1979), and Bone W Machine (drums; born Ole Öhman in 1973). Prior to founding Deathstars, Nightmare Industries and Bone W Machine were members of the heavy metal band Swordmaster, founded in 1993. Deathstars made their album debut in 2002 with Synthetic Generation on the label LED Recordings. It was fairly successful for an independent label release, reaching the Swedish charts, and it earned the band a recording deal with the European division of one of the world's most prominent metal labels, Nuclear Blast, which reissued the album internationally in 2003. Deathstars' second album, Termination Bliss (2006), was also a minor hit, reaching the Swedish charts, and the band was chosen to support black metal heavyweight Cradle of Filth on their 2006 tour of Europe. The follow-up album, Night Electric Night (2009), was far and away Deathstars' biggest success to date, reaching the Top Ten in Sweden and charting in several other European countries.



Don't miss the other albums we have from Deathstars:


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    Night electric night

Deathstars' style is known as "deathglam" among the fans (it was the working title of Night Electric Night), but the Occam's razor doesn't really warrant such a specific label, since the band basically plays bouncy pop industrial blended with a dose of goth metal (no big novelty, either). During their best -- that's to say, most dynamic -- moments, Deathstars are pretty similar to Rammstein, utilizing the same brand of simplistic heavy riffs and "get your tushy in gear" rhythms; the synth textures lend a grim, theatrical atmosphere to the music, and the vocalist (who goes by "Whiplasher Bernadotte") tips it all off with some deeply sinful crooning and occasional snarling. The lyrics are in English, not German, but it doesn't matter, since Deathstars aren't here to challenge Bob Dylan. What's more important is that Deathstars' flair for dark pomp never lets them become as recklessly ferocious as Rammstein: they're too serious to be just a Cirque du Soleil for the Marquis de Sade. Neither are they as decadent as Marilyn Manson; instead, the group rocks out the gothic way, coming off like Lake of Tears with melodic black keyboards when they're on and overdoing the maudlin thing when they're not -- the album features a good deal of slower, more epic moments that don't impress as much as the heavier parts simply because the band trades hooks for melodrama. A typical flaw, but then again, Night Electric Night's main problem is that it sounds typical -- at times derivative to the point of quotation. Deathstars aren't copycats, but it's possible to list out their influences and analogies completely, leaving nothing that's particular for the band in question. The group compensates for this with an array of nice hooks and riffs (though the record still has some filler), but ultimately, the amount of fun to be derived from Night Electric Night depends on the listener's ability to block the "same deal, different package" feeling.

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