Lustmord : Lustmordekay
For those of you fortunate enough to own and/or have heard this set of recordings, you already know that this is very different from the massive body of work which Brian Williams would later make himself famous with. Among the first recordings he ever released, “Lustmordekay” is a collection of early live tracks (some of which, most notably “Murderwrecker”, can be found, albeit in edited versions, on the “A Document Of Early Acoustic & Tactical Experimentation”). Here, however, the highly experimental noise which would later be termed as “proto-industrial” (alongside such artists as Throbbing Gristle, Current 93, Clock DVA, etc) reign supreme. Also of interest is that the album begins with a short organ insturmental (and a relatively fast-paced one at that)!!! The second track is a collection of strange rumbling, interspersed with church bells, highly distorted voices (ala Throbbing Gristle) and short high-pitched whistles. The third track introduces echoing static, pulsing bass hums, and high-pitched whines, along with strange choir samples (I almost want to say they are holiday-themed of some sort, but I am not sure). While difficult to summarize, it definitely reeks of alien vibes. The fourth track begins with a rather creepy and garbled synth line interspersed with a music box…that is, if you can imagine this music box being stabbed and burnt whilst it is playing. This is one of the few disappointments of the album, as it continues with little change for seven minutes, until it finally gives up the ghost. Track five features a menacing electrical hum, with strange metallic bowing sounds. It soon leads to a maddening thud which continues for the next four minutes. This, strangely enough, sounds similar to what any number of electronic devices would sound if they were broken (like a paper jam, for example). Track six kicks it up a notch, with distorted metallic clanging, shouting and screaming of a (presumably) improvisational nature. Track seven (the longest track in the set) is one of the best, featuring creepy children’s song samples, church bells, bass hums, various choirs, chanting, distorted synthesizer waves, ultimately reaching an apocalyptic creschendo, very similar in nature to the earliest of Current 93’s albums (especially “The Mystical Body Of Christ In Chorozaim” and various tracks from “Nature Unveiled”). Track eight is a fascinating piece of industrial rhythm (which would later be placed on the “Document…” LP), interspersed with more distorted vocals, similar to those in the second track.
Highly confrontational, difficult to catagorize, and totally unique, this is a fascinating work which makes clear Brian Williams beginning associations with SPK and Nigel Ayers as well as provide tantalizing glimpses into what his work would eventually evolve into. Unfortunatly, this work is (and has been) out of print for over twenty years, so good luck in finding a physical copy for a decent price anywhere (even the creator of the album admits not being able to locate a copy for over twenty years).