Lustmord - Echo of a Shadow in the Dark

Even before the term "dark-ambient" was coined in 1990 by Swedish musician Roger Karmanik, the British-born, now US-naturalized Brian Williams, aka Lustmord, had already proven himself a pioneer and one of the genre's foremost figures, starting with his first official release, the terrifying Lustmørd from 1981, which opened with a sample of "I'll Never Say Never To Always", the psychotic nursery rhyme sung by Charles Manson intoned by a few girls from the tragically notorious Family commune.

Having absorbed the most extreme instrumental insights of Throbbing Gristle, the de-composer distinguished himself in the early part of his career with a collage-based style capable of pushing post-industrial music to unimaginable heights of emotional claustrophobia, packing his lo-fi recordings with field recordings made in crypts and slaughterhouses, wherever a sense of dark energy could be captured. With the monumental "Heresy" (1990) he reached full maturity, streamlining the formula and painting a landscape that sounds like an endless circle of hell, an aesthetic statement glorifying white noise from which, in the distance, the cries of men and beasts rise up.

Acknowledged by much of specialist criticism as the leading standard-bearer of this nihilistic aesthetic, Lustmord has become over the decades a rare example of an easily identifiable yet still elusive trademark, an artist capable of records that push listeners to the limits of endurance – often in collaboration with major figures and bands, from ex-Throbbing Gristle members Chris & Cosey to Spk, by way of Robert Rich, Clock Dva and even the Melvins – as well as a sought-after sound designer for films such as Alex Proyas's "The Crow" (1994) and a soundtrack composer, most notably the oppressive little gem First Reformed – Creation at Risk by Paul Schrader (2019).

Caustic, categorical, mocking: Lustmord's words in the interview that follows seem to echo his music, briefly illuminating areas of shadow and mystery that, perhaps, in order to preserve and enhance their own value, should not simply be revealed.

Brian, from a purely musical standpoint, what's the determining factor behind a successful track?

Music tends to be a very personal and subjective experience, so the same track can be "successful" in different ways for different people. In my case, with my work, whether something is a success or not isn't really relevant. That's not the yardstick I use to approach or judge music.

Soundtracks for the small and big screen, for video games, even for commercials – does your modus operandi stay the same as for music that isn't commissioned?

The process is the same. What changes, if anything, is that with soundtracks you get paid more, and the music necessarily has to move in parallel with the intentions of the film you're scoring. An album, on the other hand, tells its own self-contained story.

When you're composing, where do you start?

I always start by keeping in mind the founding concept that inspired the work I'm about to create.

Your way of approaching sound material has always seemed to me closer to Musique Concrète composers than to industrial ones.

Musique concrète has never particularly interested me, so I can't say I've followed it or that it inspired me.

So who would be the artist who left the biggest mark on you?

The reggae and dub producer, musician and composer Lee Perry.

What does the term "dark-ambient" mean to you?

It doesn't mean anything to me. It's just a rather lazy label someone came up with. It's certainly not something, or someone, I feel any affinity with.

Do you see any evolutionary connection between pioneering industrial bands like Throbbing Gristle and Spk, and later generations like Nine Inch Nails and Ministry?

As far as I'm concerned there's no direct link. The last two groups you mentioned are just rock bands equipped with samplers. Early hip-hop and Detroit techno, those actually have a stronger connection to industrial and to that drive to explore, to embrace experimentation in order to break down existing barriers.

You've collaborated several times with King Buzzo of the Melvins: what do you appreciate most about him?

He's a very skilled and open-minded musician, and he's also a fun and stimulating person, so working with him is a pleasure.

What's your take on the pandrogeny project carried out by Genesis P. Orridge and his wife Jacqueline Breyer?

Gen was a self-centered, manipulative asshole while he was alive, and the fact that he's now dead doesn't change any of that. And no, I've certainly never spent my time thinking about him.

In the field of "field recordings" a central figure, though underrated and virtually unknown here in Italy, is former-Cabaret Voltaire member Chris Watson. Does his work appeal to you?

I wouldn't consider Chris underrated at all; if anything, he's a major expert in field recordings, and people are more likely to have heard of him. Want an underrated name? Sound designer Alan Splet.

You're quite restrained in your live performances. Is that a dimension that doesn't come naturally to you?

I really enjoy performing, but I'm not asked to do it very often. One of the deciding factors there is probably that I don't have an agent.

Some might think that, just like your music, you're a dark person in everyday life too.

And what would this "someone" have based such a conclusion on? Anyone who knows me well also knows my sense of humor.

Have you ever experienced paralyzing fear?

That's a strange question. No, that's never happened to me.

I read that you describe yourself as an atheist. Outside of religion, do you have faith in anyone or anything that gives you strength to face the unexpected twists of existence?

An atheist doesn't need to define himself. In my case, I don't need the support or approval of any entity when I face a challenge or go through moments of anxiety and so on. I'm perfectly capable of dealing with these things without having to have faith in someone or something.

Shall we at least give so-called "institutionalized" religions some credit?

No.

What's the most extraordinary aspect of being an artist?

(no answer)

Answer me this then: if you hadn't become a musician, what would you be doing today?

I'd be creating something outside the world of music.

Ride the wave of great music

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