Album Review: Cult Figures – Deritend

Where do we start with Cult Figures?

Kicking off the journey all the way back at the beginning in 1977, formed by Gary Jones (Vocals) and joined by Tim Wilday (drums) for a short stint, then with the addition of Jon Hodgson (Guitar), this was the foundation of the band that set out to play as and when they could, it was not until later in 1979, now as a duo, this was the time that Swell Maps got involved and they released the single ‘Zip Nolan’, the band then went through a few line up additions and an EP release and then as quickly as they arrived, they split. 

Apart from a live album release back in 2009, the next time we hear from the band is 2018’s ‘The 166 Ploughs A Lonely Furrow’ which was almost like a best of that never was.

So 2021 comes around and ‘Deritend’ arrives, a now fuller line up of originals Gary and Jon joined by Lee Mcfadden (Bass), Barney Russel (Guitar) and Stuart Hilton (Drums) have created something that actually bears no real resemblance to what came before, a fresh new reincarnated band in fact.  

‘Deritend’ is more of a melodic pop sounding album than the punk fest you might have envisaged from Cult Figures, but and there’s always a but when it comes to people who grew up in the dark ages of the 70’s and have lived through so much since.  This album may be as pop as you might, but what it doesn’t lack is attitude and plenty to reflect on at the state of life in this decade.

‘Chicken Bones’ is a catchy foot tapper of a ditty, that belies the subject, a song about the morning after, nights out on the town and the aftermath of it, leftover takeaways dog your every step, as an opener this track gave reminders lyrically of the more recent Steve Ignorant insights into life and how you see things with experienced eyes.  

‘Doughnut Life’ gives a lighter atmosphere, sugar coated deliciousness, followed by ‘Lights Out’ is where the light melodic sounds still abound, except this is actually a very dark and scary song at its core, the whistled melody is either an uplifting ditty or a Pennywise moment depending on your disposition.  Next to stand out is ‘The Omen’ with what sounds like a slowed down version of a riff that could easily have been penned by Henry Cluney himself, as is the theme of this album, the music is polished with the pure punk passing of time style of playing, enter ‘Silver Blades’ acoustic guitar in hand this now steps up the tempo and shows how accomplished they have now become as a band.

Send half off the album is the territory that most band seem to get wrong, losing that will to keep your ears transfixed can sometimes creep in, not at all here, this moves along with all the passion an beauty of the first half, ‘White Noise’, ‘Concrete and Glass’ have everything that is great about the seeing your surroundings and putting it into words how things move on, but things also stay the same.   The best till last is always a fun way to finish an album, yes they have gone and done this too, ‘Privilege’ has a sense of a Mod sound and attitude about it, although the lyrics defiantly speaks of a modern world that simply lives on the “Gimme Gimme Gimme” mentality.

Music for mature Punks or Mods or just simply for the new generation to find and enjoy, who ever you are!  Angst with all the edges shaved off, but without any loss of  message.  Music for this generation with all the experience of another generation.

Due out 26th March via Gare du Nord Records

To Pre-Order the album go HERE

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