Datacide 15 Record Reviews by Christoph Fringeli

lustmordthings

Lustmord
Things That Were
[Vinyl on Demand, VOD117]

The first self-titled Lustmord LP appeared originally on Nocturnal Emissions’ Sterile Records in 1981. It is one of the classic releases of a particular phase in British industrial music whose sound is defined by outfits such as S.P.K., Nocturnal Emissions, Bourbonese Qualk and others. It could be said that these and other bands/projects represented a “second wave” after the trailblazers of Throbbing Gristle and Cabaret Voltaire, continuing a grim sound, reflective of the hostile environment of Britain in the late 70s and early 80s.
In 1983 the Sounds-journalist Dave Henderson compiled a nice overview of this scene in the form of The Elephant Table Album, creating a snapshot of that scene as it was already drifting in different directions, be it more dance-oriented strategies or a more dark, ambient noise vein.
Things That Were, released in 2013 by Vinyl on Demand as triple LP box set, collects Lustmord’s material from before that date. The first of the three LPs is a remastered version of the aforementioned first LP, the other two records collect bits from various compilations (including the Elephant Table) as well as several live- or studio-versions and unreleased tracks. This is long before he became well known for his soundtrack-like dark ambient style, with the one exception of the last track of the third record, which anticipates his departure from the rawer and harsher sound of the early years.

FFF/Champa B
The Burial/Jah Jah Dub
[Lickshot 007]
A two-tracker on a stamped white label 10” shows FFF with Champa B in a more quiet, reggae-influenced mode somewhere between Jungle and early Drum’n’Bass. On both sides the beat remains rather steady and there are no surprises or ravetastic elements as you might expect, but it’s not too cheesy either.

Hellfish
Stage Invader/Tek Hater
[Deathchant 75]
Deathchant reaches number 75 with the man Hellfish battling it out on two 45rpm tracks in his familiar style combining some breaks, start-and-stop techniques and EQ-tweaking with the trademark fierce 4 to the floor pounding. Since number 70 all Deathchant releases have been by Hellfish. Perhaps he figured he might as well just put out his own tunes if he can churn them out at this speed to keep the pressing plants busy (and still find time to make releases for PRSPCT). Now none of them provide new revelations, but I don’t think that’s what they’re made for, they seem to be happy to be just solid kicking Deathchant releases.

Liza N’Eliaz/Laurent Hô
[S.O.D.O.M. 001]
S.O.D.O.M. stands for Slaves Of Devil Our Master and was a label run by Armaguet Nad in the late 90s. It never completely stopped, and after some long gaps there were two releases again in recent years, most recently – January 2016 – the number 001. [Read more →]

Datacide 14 Record Reviews by Kovert

Dead Fader – Scorched – (Small but hard 03)
Scorched was released at the same time as ‘Blood Forest’ on Robot Elephant.
While ‘Blood Forest’ was presumably intended to showcase DF’s tender side, bringing back some bad memories for this reviewer of accidentally listening to some dodgy IDM tunes, ‘Scorched’ is a mostly nice heavy set. Creeeep‘s the big cut here. It first caught my ear as one of the stand out cuts on the excellent 3by3 label mix a couple of years back. A 140ish miltant smasher with a grinding b-line and snappy snares. Also worth checking are the beatless pieces like Danger zone which have an eerie Tarkovsky feel.

Dead Fader – In cover – (Robot Elephant 18)
Curious development: a vinyl release with three reasonably dull cuts in a meldodic IDMish vein that’s worth finding for the two distorted ear bleeders that are included as a ‘bonus’ download. Mandel and Ceaser were apparently leftovers from the ‘Scorched session’, and are two massive overdriven off-cuts. Would’ve made a heavy 7″: Ceasar getting the balance between tension and release exactly right, with an expectant, offbeat intro that cuts to nothing before smashing back in with an overdriven half-step rhythm, that’s too short, but begs the rewind; and Mandel slowly modulating disconcerting vibes under crunchy distorted breakstep drums, that weirdly ends with a minute long fade-out.