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From the ashes of former hardcore band Eclipse arrived the Umeå-based doom metal band Cult of Luna in 1998. Initially drenched in the aggressive, violent style of doom metal, which can be heard on the band’s debut, self-titled album, Cult of Luna’s musical direction has since been driven by a focus on orchestration synonymous with post-metal. Despite making waves within the metal genre, the band’s debut failed to significantly raise Cult of Luna’s profile, however gave hints to the extolled and progressive nature of music yet to come.
The band’s sophomore album, “The Beyond”, highlighted Cult of Luna’s staying power, and was recorded with vocalist Klas Rydberg, guitarists Erik Olofsson and Johannes Persson, bassist Andreas Johansson, keyboardist Magnus Lindberg, and drummer Marco Hilden. Moving away from the anger aimed at modern society as a whole, toward anger at an elite, ruling class, Cult of Luna’s third album “Salvation” also dropped a number of doom metal themes in favour of instrumental, post-metal influences. Dubbed the band’s big breakthrough, the record became critically acclaimed and rose Cult of Luna to the heights of metal.
Two years later the band issued their fourth full-length album “Somewhere Along the Highway”, which proved Cult of Luna’s first charting album. Rising to No. 59 on the Swedish Albums Chart the record is seen as a seminal album for American contemporaries Neurosis and Isis. Two years later Cult of Luna returned to the charts with their fifth studio album “Eternal Kingdom” in 2008. Peaking at No. 47 on the Swedish Albums Chart, the record later earned a Grammisgalan nomination for Best Rock Band. Like its predecessors the album was extolled by critics and paved the way for their highest-charting album to date “Vertiakl” in 2013.
With an ominous namesake and equally evocative sound, heavy metal outfit Cult of Luna have achieved notoriety that stretches far from their native Sweden. After the breakthrough release of 'Salvation' the seven piece have taken off around the globe to reach the ever expanding fanbase. As the group were originally known as an underground cult outfit, they still seem to perform as though there are only a few people in the room and they are jamming out.
This is great to see though as it feels like regardless of the size of the venue, there is a sense of intimacy when watching this group perform. There are more exterior production techniques adopted during 'Ghost Trail' as lights flail wildly over the crowds as they cheer and head bang along with the band. The sheer energy given seems to be the fuel to the blistering instrumentals as each member throws themselves into the performance. It is fantastic to see a band really care about the show and the gig as it feels like they are consistently trying to achieve a new personal best. If the cheers and applause at the finale of 'In Awe Of' are anything to go by it would seem they have achieved it.
sean-ward
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