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LUSTMORD

Progressive Electronic • United States


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Lustmord biography
Brian Williams, or LUSTMORD, confines his entire dark, deeming, deep and dueling art, on an electronic and artificial passion, inside various ways, productions and, thus, acceptances. He debuted as Lustmørd (variations, overall his career, point as well towards Lust Mord, B. Lustmord etc.) in 1981, creating hard ambient and particular industrial sounds. His first steps also resembled a work on drumming, machine and mayhem programming in the clustered SPK ensemble, plus in a TERROR AGAINST TERROR group, which basically can be described as a hard techno sampling artistry. Among, inside or after other such side projects or aliases releases (Arecibo, Isolubin BK), his entire discography and music expression catches a lot more stability starting 1991. Till present time, he has come to define a palisade of activity, demonstration and performance, yet most importantly comes the music, challenging the in-depth of modern electronic ambient emphasis, for which the technical becomes a work of art, the expression is entirely guided by feelings and by expression, plus the sound resonates the gambol of experimental pitches towards deep self-voiced power arrangements. Usually he goes defined as dark ambient, industrial desolator and psychical expressionist; but the first two are heavily disapproved by the artist himself and, for sure, express a more profound and deep nature than it can be broadly accepted.

For electronic progressive, the specter of collaborations, the work side orientation and anything at a level of commercial boost (which, sincerely, does happen to this artist more than to others) finds irrelevancy, as long as music is the confident deep never-dousing tone. A quick swift through the character of LUSTMORD, as an entire artist, highlights, as most healthy collaborations and music results, those with Robert RICH, Paul HASLINGER, JARBOE, BLACK METAL or THE MELVINS, plus the mass sound design orientation, which comes to epitomize the modern language with the vast perspective, whether it goes into his music and contemplation, or reaches out towards games, crafts, systems and powers. Continuing down the full perspective (but also, obviously, reaching more risky points than there are valorous ones) LUSTMORD collaborated with TOOL (on their singles, plus on the "10.000" days album), Monica Richards, Adi Newton, Andrew Largowski, John Murphy, Steve Roach, Larsen, Gang Of Four, Mortiis, Alan Lamb, TGT, Graeme Revelle, Nurse With Wound, Current 93. The remix...
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LUSTMORD discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

LUSTMORD top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

1.17 | 3 ratings
Lustmørd
1981
2.00 | 1 ratings
Lustmørdekay
1982
3.20 | 4 ratings
Paradise Disowned
1984
3.55 | 10 ratings
Heresy
1990
3.00 | 2 ratings
The Monstrous Soul
1992
4.38 | 7 ratings
The Place Where The Black Stars Hang
1994
3.51 | 5 ratings
Purifying Fire
2000
3.60 | 5 ratings
Metavoid
2001
3.49 | 5 ratings
Zoetrope
2002
3.05 | 3 ratings
Carbon/Core
2004
4.04 | 5 ratings
Melvins Lustmord: Pigs Of The Roman Empire
2004
3.00 | 2 ratings
Juggernaut
2007
4.08 | 5 ratings
Other
2008
3.87 | 4 ratings
The Word as Power
2013
3.91 | 3 ratings
Dark Matter
2016

LUSTMORD Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.00 | 1 ratings
Lustmord Rising
2006

LUSTMORD Videos (DVD, Blu-ray, VHS etc)

LUSTMORD Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

0.00 | 0 ratings
Heretic
1990
1.00 | 2 ratings
A Document Of Early Acoustic & Tactical Experimentation
1991
0.00 | 0 ratings
Beyond
2009
5.00 | 1 ratings
Dark Places of the Earth
2009
4.00 | 1 ratings
Songs of Gods and Demons
2011

LUSTMORD Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

5.00 | 1 ratings
Strange Attractor
1996
3.00 | 1 ratings
Other Dub
2009

LUSTMORD Reviews


Showing last 10 reviews only
 Dark Matter by LUSTMORD album cover Studio Album, 2016
3.91 | 3 ratings

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Dark Matter
Lustmord Progressive Electronic

Review by admireArt
Prog Reviewer

4 stars "Derived from an audio library of cosmological activity collected between 1993 and 2003. It was gathered from various sources including NASA (Cape Canaveral, Ames, The Jet Propulsion Laboratory and Arecibo), The Very Large Array, The National Radio Astronomy Observatory and various educational institutions and private contributors throughout the USA."-LUSTMORD.

Lustmord's "DARK MATTER", 2016, presents 3 very visual, dense atmosphered, space music related tracks which have been polished up to perfection.

One of the great attributes this project holds, among many, is how palpable and evident it is to notice Lustmord's music composition talents evolution.

Other great attribute relies on how much stronger and focused his "obscure spirit" turns out in these dark space travel dronescapes by the slow and wide development of its melody lines, structured towards simplification (not simplicity) and sound engineered to highlight each and every angle simultaneously. And of course all enhanced by the extraordinary library of sounds previously described.

Another great attribute is the keen eye for creative details even the imperceptible ones (you will be surprised!) and last but not least, the perfect running time, not a minute less or more, which equals non expendable sections or tracks.

****4.5 PA stars.

 Heresy by LUSTMORD album cover Studio Album, 1990
3.55 | 10 ratings

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Heresy
Lustmord Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars B. Lustmord's own notes on Heresy claim that the album was recorded in various underground locations and is based around "psycho-acoustic phenomena and the physical effects of low frequency information" - in other words, it's a slow-paced ambient album in which not very much happens, but what does happen is deeply spooky with it. Constituting either actual field recordings or cleverly faked ones - it's hard to tell - this is an album which will rumble on mysteriously in the background before ambushing you with strange little events, like a gun blast followed by bestial snarling and the wail of a child. I am not sure what is supposed to be happening here, but I do know I am supposed to be afraid of it - and the album accomplishes that mission just fine.
 The Place Where The Black Stars Hang by LUSTMORD album cover Studio Album, 1994
4.38 | 7 ratings

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The Place Where The Black Stars Hang
Lustmord Progressive Electronic

Review by Warthur
Prog Reviewer

5 stars An incredible dark ambient journey through bad neighbourhoods of outer space, The Place Where the Black Stars Hang presents a massive, daunting, and deeply rewarding electronic experience. Some of the calmer and more ambient portions of the Quake soundtrack by Nine Inch Nails delves close to this sort of territory, but it is across these three massive central tracks (plus their shorter prelude and coda) that the sounds in question really grow into their own. Like being trapped in a drifting spaceship you are unable to fix and listening to the computer systems slowy die and the oxygen leaking out, it's one of the most morbid ambient albums I have ever heard.
 Zoetrope by LUSTMORD album cover Studio Album, 2002
3.49 | 5 ratings

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Zoetrope
Lustmord Progressive Electronic

Review by Dobermensch
Prog Reviewer

3 stars I almost had to check I'd stuck the correct disc in at the beginning of 'Zoetrope' as it sounds startlingly similar to the really spooky 'Jupiter and Beyond' sequence in 2001: A Space Odyssey. That part where all the discordant operatic vocals wail and whine.

This Lustmord recording has all the usual dark, cavernous, hugely reverberated sound that his preceding albums contain. The production qualities on this one are superior, and the musical content has become more fluid and varied with a lot of violent sudden stabbing effects.

I'm surprised no movie producers have approached Brian Williams, as his recordings would make great horror soundtracks. Although apparently he had some input in 'The Crow' from 1994.

Some parts are quite dramatic with what sound like steel man-hole covers spinning like coins before wobbling to a thunderous clang. Dramatic hammering and electronic whooshing becomes more prevalent after the half way point . I'm sure I can hear evidence of the 'EMS Synthi AKS' software package at play.

Lots of whispering goblins and gargoyles are guaranteed to send a shiver up your spine in 'Amalgamated man' The tracks with sampled vocals are very effective indeed adding a real intensity that the instrumental tracks seem to lack. The sound of bones being sawed and screeching metallic wires only add to my sadistic enjoyment.

Strangely the poorest track is the one where there's a semblance of tune - 'End Titles' has some already horribly dated keyboard violin strings and a boring straight beat.

There won't be a large catchment area for 'Zoetrope'. It's a grim, dark and unhappy album. Just the kind of stuff I like... There are far creepier albums available but this is a pretty solid effort from the Welshman.

Now if you'll excuse me I have to go and change my nappy.

 Heresy by LUSTMORD album cover Studio Album, 1990
3.55 | 10 ratings

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Heresy
Lustmord Progressive Electronic

Review by admireArt
Prog Reviewer

4 stars Slow descent to the obscure!

Before anything else, this is close to contemporary classical music (i.e. Stockhausen's "Trans"), rather than the average prog rootings, which explains the low ratings, for such an exquisite work. But that seems irrelevant as soon as you open the gates of Lustmord's "Heresy" 1990.

As opposed to expectations, this "Heresy" is minimally constructed. It deals close to the "Minimalistic/Ambiental" tagging also, if you happen to be living in hell of course!

And this is exactly where this work stands out., instead of playing all the possible exagerations depicting this "underworld" or hell or whatever dark or un- gods you pray on, these environments assume you as an already living being in these lands. The air you breathe, the colors missing, the feeling of living in such an unlighted place and yet still be left to dwell free in its "godless" beauties.

No horror-movie antics or "wild" useless fireworks!

Impeccable, dark, minimal, weightless electronics, outlining a possible heretic and "peaceful" portrait of our own known and obscure and sad planet earth.

(Yes! This is not "happy" prog, not at all!!)

****4 PA stars.

 The Word as Power by LUSTMORD album cover Studio Album, 2013
3.87 | 4 ratings

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The Word as Power
Lustmord Progressive Electronic

Review by admireArt
Prog Reviewer

4 stars "Blackest Ever Black"

The record label's name is the "keyword" for this exciting adventure named "The Word as Power", Lustmord's 2013 release, which as promised, for the first time introduces "live" voices, to his pitch black, electronic aesthetics.

Sacred dark music, which even being non-religious, is close to middle East's canons of composition, without the drumming, but in spirit and depth. The musical compositions dare to be "obscure", but not by the "satanic" paraphernalia standards, people associate this kind of "dark" projects and music with. In fact, being that he has vocal guests, he "hosts" them with extreme care and attention. He, as the owner of his own musical language, by now is very well skilled with any kind of "collaboration" project with other musicians, (he has one with Robert Rich which appears under Rich's name here in PA). Although, this one goes only with his name, it will be unfair not to mention his 3 guests: Jarboe- voice of "Andras Sodom", Maynard James Keenan- voice of "Abaddon" and Soriah-voice of "Grigori".

So, feel prepared for an un-holy ritualistic "obscure" mass of Lustmord's "black" electronics/acoustics, enhancing the attributes and skills of the human voice or its "powers", its lights and darkness. In a simmilar kind of tenor like Jocelyn Pook's "Flood" , 1999, recording.

****4 "Electronic audiophile" PA stars, that should be appreciated by anyone in the Prog listening universe.

 Paradise Disowned by LUSTMORD album cover Studio Album, 1984
3.20 | 4 ratings

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Paradise Disowned
Lustmord Progressive Electronic

Review by Warthur
Prog Reviewer

4 stars Lustmord's Paradise Disowned offers an uncomfortable journey through pioneering dark ambient landscapes. Contrasting somewhat busier soundscapes with more mininalistic pieces in which long expanses of quiet are interrupted by sinister noisy incursions, the overall atmosphere is of being stalked by sinister presences in some cold subterranean labyrinth - which is appropriate enough, given the range of underground recording locations utilised in the creation of the album. Flying in the face of the idea that ambient is necessarily a sterile, studio- bound genre of music, Lustmord works field recordings into the compositions with expert precision, making this album a substantial accomplishment in the field of dark ambient.
 Purifying Fire by LUSTMORD album cover Studio Album, 2000
3.51 | 5 ratings

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Purifying Fire
Lustmord Progressive Electronic

Review by Conor Fynes
Prog Reviewer

3 stars '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.

 A Document Of Early Acoustic & Tactical Experimentation by LUSTMORD album cover Boxset/Compilation, 1991
1.00 | 2 ratings

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A Document Of Early Acoustic & Tactical Experimentation
Lustmord Progressive Electronic

Review by Guldbamsen
Special Collaborator Retired Admin

1 stars 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.

 Paradise Disowned by LUSTMORD album cover Studio Album, 1984
3.20 | 4 ratings

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Paradise Disowned
Lustmord Progressive Electronic

Review by Dobermensch
Prog Reviewer

3 stars 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.

Thanks to Ricochet for the artist addition.

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