V. Lustmord, aka Brian Williams, (Wikipedia) comes into view as Robert Rich’s collaborator on the essential Stalker disc. His ambient vision is vitalized in his career-spanning effort to have his music identified with the dark current of the human shadow. This emphasis poses an opposition to the tribal, mystical, “outer space,” aesthetic and does so by amplifying (what I term) the “demonic ominous omen.” He does this, usually, by creating very slow, cavernous drones, with thundering rhythmic strikes and alien-sounding vocalizations and chants, all sluggishly spiraling around a subterranean ritualistic core. At its darkest, Lustmord’s soundworld is seriously creepy, and at times horrific. Although, its scary effectiveness diminishes with repeated listening!
The Monstrous Soul, is the highlight of his output. web site
The dark ambient genre has an interesting history because it’s complete lack of even modest commercial potential meant that in the early eighties it arose as a DIY effort centered on one-of cassettes, and, compilations. It was one of the first such efforts too. Even today, as a mature genre, it remains focused on etching the ‘sub’ in sub-culture. Dark ambient, being a kind of a bastard offspring of the industrial music genre, isn’t easily differentiated when its sonic world crosses back-over to via metallic machine textures. Lustmord often has one foot in his ‘other world’ and one foot back in the industrial family.
Lustmord does duty as influence mostly for his approach to delays and crawling sense of development. Also, Lustmord, here, stands in for other, lesser influences, especially Coil, Current 93, Paul Schutze, and Bill Laswell.
Devilish effects aren’t at all a goal in Slidemare. Still, if a listener is creeped out for some reason, it might be at moments in the ambient stream where Lustmord was in the back, unconscious, of the designer’s mind.