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Death Cult

About Death Cult

Death Cult had one release on Beggar's Banquet as the post-Southern Death Cult project of Ian Astbury and Billy Duffy before they went on to form the Cult. Many of their songs later appeared on the Cult's Dreamtime release in 1984. Creepy echoes from the American South come through Duffy's echoing, reverberating guitars, occasionally dropping to a 12-string for eerie, still-water ballads. Astbury's unmistakable voice could cut across Death Valley with its shrill, vaulting notes and deep, hollow tones. Their music is both beautiful and haunting.

Listen toDeath Culton Rhapsody

Death Cult had one release on Beggar's Banquet as the post-Southern Death Cult project of Ian Astbury and Billy Duffy before they went on to form the Cult. Many of their songs later appeared on the Cult's Dreamtime release in 1984. Creepy echoes from the American South come through Duffy's echoing, reverberating guitars, occasionally dropping to a 12-string for eerie, still-water ballads. Astbury's unmistakable voice could cut across Death Valley with its shrill, vaulting notes and deep, hollow tones. Their music is both beautiful and haunting.

About Death Cult

Death Cult had one release on Beggar's Banquet as the post-Southern Death Cult project of Ian Astbury and Billy Duffy before they went on to form the Cult. Many of their songs later appeared on the Cult's Dreamtime release in 1984. Creepy echoes from the American South come through Duffy's echoing, reverberating guitars, occasionally dropping to a 12-string for eerie, still-water ballads. Astbury's unmistakable voice could cut across Death Valley with its shrill, vaulting notes and deep, hollow tones. Their music is both beautiful and haunting.

About Death Cult

Death Cult had one release on Beggar's Banquet as the post-Southern Death Cult project of Ian Astbury and Billy Duffy before they went on to form the Cult. Many of their songs later appeared on the Cult's Dreamtime release in 1984. Creepy echoes from the American South come through Duffy's echoing, reverberating guitars, occasionally dropping to a 12-string for eerie, still-water ballads. Astbury's unmistakable voice could cut across Death Valley with its shrill, vaulting notes and deep, hollow tones. Their music is both beautiful and haunting.