LUSTMORD

'Purifying Fire' - Lustmord (6/10)

Don't be fooled by the brightness of its welcoming cover art; Lustmord's "Purifying Fire" is not a musical venture for the pure or weak of heart. In keeping with the one-man project's style of dark ambiance, the sparse, oft-chilling textures used here may be better suited to the likes of a horror film score than anything light or sun-related. Even though the music often more closely resembles the sounds of a landscape moreso than a human composition, Lustmord's brand of dark ambient music is unmistakable. Although many potential listeners will no doubt be turned off immediately by the album's lack of apparent structure, the creeping atmosphere felt throughout "Purifying Fire" should make it a worthy purchase to any fan of the genre. Outsiders be warned however; this is not music for the impatient.

Of the four traditional elements of music (melody, harmony, rhythm and timbre), "Purifying Fire" focuses almost solely on the last and most often marginalized element: timbre, or the way something sounds. Texture is the soul and lifeblood of much ambient music, and Lustmord embraces the idea of texture-based composition in much the same way as many of the German electronic composers did. Although there is a slight sense of orchestration and human intention here, much of the album's length is dedicated to the ebb-and-flow of hypnotic hums, the rustle of cosmic winds, or the sort of static fuzz you might hear in a post-apocalyptic wasteland. Lustmord aims for the lower end of the sonic spectrum. The waves of soft noise favor bass above all else, and though there is the occasional layer overtop, you won't find a great deal of sonic dynamism here. For the most part however, the fixation on deep and gloomy sounds only serves to make the atmosphere that much darker.

Especially considering that each composition seems set on giving elements of convention and structure the proverbial middle finger, it's refreshing and- in a quiet sort of way- exciting to hear Lustmord reinvent the style of ambiance a few times throughout the album. The first three tracks here unfold in a very similar way. "Purifying Fire"s first half is overwhelmed by the barren soundscapes and rustling drone often heard within the dark ambient realm. With "Black Star", the album takes a significant shift in direction. Although the sound remains scarce enough to remain strictly ambient, Lustmord introduces a sense of structure into the music. A haunting, exotic drone hums as an inhuman howl echoes overtop. From this point onward, Lustmord goes from the purely post-apocalyptic to something more overt and frightening. "Purifying Fire" only ever begins to experiment with rhythmic patterns towards the end of "Of Fire & Of Ice", but by that point, the album is almost already over.

Although Lustmord's ability to change up the ambiance gives the album a much greater sense of replay value, the 'excitement quotient' of these sonic evolutions are subtle at best, and probably won't even register to the impatient listener as changes at all. For music so mellow and minimalistic, "Purifying Fire" may be too demanding for some listeners, particularly if they haven't had any experience with ambient music. Although it's not quite enveloping enough to warrant a listener's undivided attention, the effect and atmosphere Lustmord is able to conjure here is unmistakable. Dark, spacey ambiance abounds.

Mud smoothie

I remember when I first purchased this a couple of years ago, thinking it would be some seriously dark and impressionistic pioneering electronic music with a strong penchant for the abstract, and then getting exactly that and in spades....... Well, all I can say is that be careful what you wish for, you just might get it!

This compilation features the material of the first untitled Lustmord album - back when he called himself Lustmørd (As to why he did so leaves me completely baffled, even if Denmark is the only country to use the letter ø...). Furthermore, you get John Balance off the trailblazing Coil as well as Nigel Ayers from Nocturnal Emissions laying down some spooky incomprehensible vocals. So far so good.

I guess you could call this album forerunner to a lot of stuff - in fact most of the gravelling, uncouth and abrasively mushy synthesizers here wouldn't feel out of place on an early Nine Inch Nail release. This is indeed industrial in the truest sense of the word. It takes skilled supervising abilities to work out what's doing what and to whom, and whether the music, if we can call it that, actually is or effectively 'lives'. It's soulless bottomless stark black ambiances levitating, hovering strangely abnormal on the air like human faeces with raggedy wings.

On top of the senseless stagnant sonic universe, that doesn't seem to head anywhere - be that in an intolerably slow manner, the production itself sounds uncannily like the studio was situated at the bottom of a bog. Muddy, grainy, distorted and uncompromisingly edgy - it sure does feel like an avant garde release that couldn't care less if anybody ever has the patience to sit through all of this contourless, colourless, soulless and may I add meritless excuse for a debut. Thank Ford, Lustmord evolved from this tripe - releasing a string of unparalleled dark ambient albums up through the 90s - staying on a sonic roll way up to the present day. This, however, is just plain awful music, -nah strike that because this is way past music, and not in a progressively profound manner - no, this is more like uninspired programmed contorted sound. If you can imagine trying to blend a mud smoothie and then mixing it up with a big plate of sick - throwing it wildly about in the air - relegating the scenario in ultra slow motion with the appropriate soundtrack of serrated emanations from a dusty cellar where the bulk of the material comes from scraping a microphone through the indefinable debris and grime that seems to gather in corners of neglected unlit basement rooms.

At least the artwork has been improved from the horrible ZX Spectrum 16k cubic block cover version I bought way back in 1991. But would you believe it - you guys still have to look at the original!

Slabs of darkness in the form of 'Throbbing Gristle' and 'SPK' are prevalent through this first proper recording by Brian Williams who has since gone on to make a big name for himself in soundtracks and computer games.

Back in '84 is where he was at his best - straight off the back of the imploding industrial masters 'SPK' of whom he was a sometime member. I know for a fact that none of these tracks were recorded down any mines. Lustmord were always quite happy to exaggerate the technology and equipment they had at their disposal in those days. I've had personal contact with collaborators who can verify this statement. Nonetheless this is still an excellent album and unlike any of his following endeavours it holds a definite malaise and real uneasiness about it.

What sound like wailing coronets in a cavernous environment are exemplified by exceedingly creepy deep male vocal chanting. All is good and well until 'Terror Against Terror' - where ritualistic one note drumming is employed which basically puts my mind to sleep.

Thankfully things pick up again with the far noisier, less tuneful last two tracks, which are enough to give your granny a heart attack, despite having no guitar, drum or bass. This is solely due to the noise mongering remnants of his former heroes.

— First review of this album —

The "live" album recorded as the musical accompaniment to the Satanic High Mass celebration of the 40th anniversary of The Church of Satan sounds... so very right.

Yes, a live Lustmord album, Lustmord Rising (06.06.06). But, unlike a lot of live albums, this set was recorded directly from his electronic equipment so there are no crowd noises or whatever else; this is basically just another Lustmord studio album that focuses more on his ability to improvise.

The material on Lustmord Rising (06.06.06) is nearly entirely recycled material. I say recycled because all of the various sounds and effects are the same as on all previous albums, but this live set sees him combining these elements into new combinations. This is very good though, because each of Lustmord's previous albums contains an element that is unique to that album, and here is where all of the darkest, deepest, most dense, and most primordially evil sounds come together; this is essentially a greatest hits type of album. All of Lustmord's trademarks are here: the endless droning resonating from an unearthly abyss, alarming church bells that ring deeply, the distant pounding of an eldritch abomination, and the sharp and muffled whistles from crisp winds.

As for the subject matter of Lustmord Rising (06.06.06), I don't think the Church of Satan could've asked for a better musical accompaniment to their 40th anniversary celebration, though I've personally never been to one of these celebrations. I'd probably show up at a local celebration if Lustmord decided to show up. Anyway, this album increases the dark and brooding atmosphere of Lustmord's preceding albums, so I have to assume that Lustmord was really in the mood of the celebration. It's worth mentioning that there are no Aaron Turner or Buzz Osborne guest spots on this album, which I personally think is great, but other fans might disagree.

If you've enjoyed all of Lusmord's previous albums, especially Purifying Fire, Heresy, and Carbon/Core then there is absolutely no reason that you won't think Lustmord Rising (06.06.06) is incredible given the combined elements from the aforementioned albums coupled with the fact that this was all recorded on such a blessed day for our followers of the dark lord. This is a very recommended religious experience that rates among Lustmord's very best.

"Let go of the tangible mass of your mind, it is only an illusion."

This is easily one of the most terrifying albums I have ever listened to in my life. It sounds like your walking in some dark, subterannean place or in some abandoned city after a apocalypse happened that made the sun shine no more and caused all sorts of wierd strange creatures to lurk everywhere, and theres you, with nothing but a pistol and a flashlight as your friend. If you don't like dark ambient you'll probably absolutely hate this album. Me? I can't get enough of it. It is a really "fun" album to listen to at night.

Brian Williams use of samples in this cd is incredibly spot on and fitting, with the dripping water at just the right moments, the heavy breathing and whispering, the sound of something moving heavy equpiment around or something bumping a stack of pipes you might find at a construction site and them come clanging to the floor. This album really is a trip to another time where there is very few people left alive and things have gone terribly wrong. Did I mention this is a film soundtrack to a movie called Zoetrope? I have not seen this movie but if the music is anything to go by, it out to be insanely creepy.

The only song here that does make one scared or frightened is the song End Titles, which is almost light-hearted sounding comparativly speaking. It has an almost eic feel to it with violins, and droning synths.

The song Zoetrope Trailer also mixes things up somewhat with what I assume is spoken words from the movie, with someone saying things like "Humanity is dust".

Amazing album.

This album is exactly what it says it is. A documentation rounding up early hard to find Lustmord songs, but becoming just as hard to find as what it is trying to make easy ( or at least humanly possible to) find.

This album is pretty dire the entire way through. it has the sound quality of a 90's cassette demo, and songs that are pretty much fitting with a lot of late 80's early 90's underground noise/electronic/industrial cassettes.

This album captures most of Lustmord's self titled debut, some live tracks, and some other tracks that I assume were just laying around. The first track is very industrial sounding track, almost remniscent of Throbbing Gristle with the rhythm and the strange moans and groans of some machine (since I does not seem right to call it a keyboard or something similar).

Then the Self Titled debut tracks follow, but, somehow they have managed to become even worse than they sound on the debut. I cannot help but skip through these songs.

Some interesting live tracks follow that are for me the highlight of the album (highlight is an overstatment for this record, only the song Amok is one I could give a two or maybe even three star in any other setting, but within this album it becomes almost a four star track). Ovenblast is a ultra repetive song with a drum loop and not much else really. It is a pretty bland and uneventful industrial song. Amok is my favorite song off this album, featuring a warped almost keyboard sound, that for some reason reminds me of the synth part during Pink Floyd's One Of These Days.

The following songs sound like rejects from the Paradise Disowned album. Nothing good about them in short.

The song which I can say I really would like to listen to following my two listens to this is Amok, other than that this is a completely worthless album that should be far avoided. Not even that one song can bring up this album from the avoid like plague rating of a one star.

Carbon/Core sounds a lot like a Lustmord album, being that it is dark, groany, moany, stark, and disturbing. Most Lustmord sounds like Lustmord, which isn't a bad thing even if it is a tad redundant.

Carbon/Core is simply more of a good thing. Lustmord, by now, has been established as the leader of all electronic musicians who make music that sounds like Hell locked in a dungeon, and I'm a big fan of this particular sound. Being as dark as it is, this album's usage of dissonant string manipulations, deep resonant growls, abyssal gurgling, surprisingly close crashing noises, and jarringly chilling frequencies make for stark soundscapes that really dig deep into the mind to create pictures of wonderful, wonderful, terrible torture through all types of dungeons throughout various points in history and beyond. There really isn't much more to say about any of Lustmord's releases.

Besides Carbon/Core being another good Lustmord album, this particular album actually does have a couple of my favorite Lustmord tracks on it: "The Conflict of Symbols" features strong dissonant string arrangements backed by terrible abyssal growling, but eventually become beautiful and ambient with a dark ages kind of feel, and "Born of Cold Light" jams almost every possible element that Lustmord could use in a single track to make his music dark, but become very bright and hopeful near the center of the track (actually, this serves as a great relief to the typical Lustmord sound).

Subterranean in it's darkness without the smallest chink of light. Good late night listening, where no matter how loud you play it, you're unlikely to wake the neighbours. There are no conventional instruments used at all - so you'll hear no drums, bass or guitar. This is one of those moody ambient albums that there were quite a lot of in the early 90's . Thankfully this is one of the superior ones and probably Lustmord's best in his whole catalogue.

He had links with SPK and Throbbing Gristle, so that'll give you some idea as to where he's coming from. 'Heresy', however is far more subdued than the aforementioned.

Oscillators, rumbling electronics and faint semblances of 'tune' are pretty much the order of the day, but it's pretty cohesive and far less repetitive than the follow up 'The Monstrous Soul'.

I guess most will find this either too creepy or too boring to be entertaining. Personally I've a real soft spot for this kind of doomy soundscape malarky. Prog fans beware - there ain't no prog here!

There are however, some pretentious liner notes in the booklet, like most Lustmord albums, which makes me shake my head and think 'You Muppet!'.

Don't look to 'Heresy' if you're after action and adventure with blazing guns and car chases. This is a very slow, rolling and ominous album which sounds like the after effects of the front cover painting. Either that, or the discovery that there's alien life on Europa beneath the ice.

Very annoyingly, my original has disc rot on the last 14 minute track (Soleilmoon 1990 release - don't buy it!)

Play loud and crank the bass up to maximum to make your heart skip a beat...

— First review of this album —

After Songs of Gods and Demons I've realized that rejected Lustmord tracks sound just like the Lustmord tracks found on previous albums. This Songs of Gods and Demons album is a collection of previously unreleased tracks by Lustmord, and you wouldn't know it unless someone told you. With this album, you get the Lustmord norm: dark, brooding, droning blackess from the darkest regions of Hell. Very atmospheric of any place that you definitely would never want to be, ever. Since that is what is expected from Lustmord, I'd have to say this album is pretty good. There isn't much reason for going into the tracks besides saying that they all sound empty and terrifying, with black ambience, occasional faint screams, slamming and booming of whatever-objects, and growling drones that hunger for souls.

The two last and shortest tracks are my personal favorite, the other tracks being long and uneventful. "Haze" starts out on a beautiful synthesized choir until this sound is slowly overtaken by a hollow black void of abominable drones, and after the half-way point there is an eerie and loud booming/scraping sound that almost sounds like a giant door opening and closing, accompanied by faint screams and moans of ghosts.

If you've ever played "Turok 2: Seeds of Evil" on the N64, then I can easily explain "Vault" as sounding like one of the more tribal-like tracks from that soundtrack. Honestly, this track is kind of cheesy in an overly-epic kind of way, forcing me to understand why it was previously unreleased. This is what the soundtrack for The Descent would've sound like if it starred Sylvester Stallone and Dolph Lundgren, directed by Michael Bay. But, really, it's good in an odd kind of way. After this album being so dark and serious, this oddity of confusing epicness comes off as strangely fresh and unique.

I'd definitely recommend this to the serious Lustmord fan, but probably nobody else. It is, however, highly recommended by me. I enjoyed it quite a bit, especially the last two tracks.

— First review of this album —

[OTHER DUB] is pretty much what I expected it to be. It's a long dub remix of the album [OTHER], with additional guitar added by Adam Jones of Tool. To be honest, this album is kind of boring. It's atmospheric, but not in the traditional Lustmord way - this sounds like the album Satan smokes to with his buddies. [OTHER DUB] consists of 3 parts of the same tracks, and each part could very well be the same part, because there is no distinguishing them. All of the tracks have a steady, bassy, dub pulse backed by a simple snare beat and Lustmord's weird atmospheric experimentation noises. I'm not really sure what Adam Jones' point was on this album. He plays guitar for a total of maybe 1 minute, and he only plays 1 chord.

I'm not saying I don't like this album, but it just isn't really powerful Lustmord work; probably why it isn't a whole album. I suppose this album would be good music to test out some newly installed woofers in a car or something, but other than that, this music is just background noise for a gloomy sewer in Jamaica. If gloomy ambient dub sounds good, pick this album up.