Lustmord first surfaced at the beginning of 1980, in the form of
unannounced live appearances in the UK, when Brian Williams, with
the assistance of a few trusted friends would disrupt regular rock
concerts by storming the stage before the advertised act and perform
for as long as possible.
Since one collaborator would man the mixing desk with assistance
to keep security at bay, while another switched off the lights,
these performances could last anywhere from 2-15 minutes before
anyone realized that this was not an "authorized" performance.
It was fun while it lasted, but too many "disagreements" with security
eventually took their toll.
During this initial period of
activity, firm friendships were developed with such like-minded
individuals as SPK , Throbbing Gristle
(particularly Chris & Cosey)
and Monte Cazazza .
Such friendships instigated ongoing fields of interest and
allied projects which led to assisting with live SPK
performances (mixing engineer etc.) in 1981-82 and
contributing voice and effects to the album " Leichenschrei
" in 1981. Also performing as member of SPK (Percussion,
Machinery & Mayhem) for a tour of England in 1983, and
European tours in 1984 and 1985.
A 12" single " Thy Gift/The Need" recorded
with Chris & Cosey followed in 1984
under the name Conspiracy International.
In 1984 the base of activity moved from Wales to London to
concentrate on working full time as a SPK collaborator, also
taking over the everyday running of the SPK
record label Side Effects
This began a new period which resulted in contributions to
various projects such as an uncredited appearance on
Current 93 's " Dogs Blood Rising " album,
appearances on several Nurse With Wound albums,
sound library assistance for the SPK album
" Zamia Lehmanni ", insect recording research for
the Graeme Revell project " The Insect
Musicians" and contributing atmospheric samples to the
Chris & Cosey album " Exotika". Successful
development of the Side Effects catalogue led to the formation
of a sub-label Musique Brut with Graeme Revell (
SPK ), and eventually to Brian becoming owner/manager
of Side Effects.
|The eighties culminated with live performance
in Europe as a member of SPK (keyboards, percussion
and voice), low frequency generation and manipulation for the
album " Teste Tones " by The Anti Group (aka
TAGC). Concept and sound design for the singles " Machine
Gun " & " Revo " by TGT
(The Genetic Terrorists), the recording of an album "Psychological
Warfare Technology Systems " under the name Terror
Against Terror , and live sound mixing for Clock
|In the early nineties served as consultant for
Mute Records , assisting with catalogue development
for the subsidiary label The Grey Area , overseeing
the compact disc releases by SPK and Monte
Cazazza . Also the compiling of over 40 hours of Throbbing
Gristle live archive recordings into four compact
During this period the Lustmord
studio, "scientific electric" was upgraded into a fully digital
facility, with extensive sound design and manipulation capabilities,
with additional work carried out as a freelance Apple computer
consultant, with emphasis on sound and music.
The period based in London concluded by touring with Clock
DVA in England, Germany and the USA as live mix engineer,
and the recording an unfinished second Terror Against Terror
In 1993 Brian moved to Los Angeles to work as Music Sound
Designer for former SPK member Graeme Revell, now a successful
motion picture composer.
After the move to LA, Side Effects was restructured and re-launched,
this, together with the pressure of work distracted from Lustmord
In 1999 after working on over 40 motion pictures with Graeme
Revell, the relationship came to a natural end, with Brian
refocussing on other music and sound design projects including
video games and television. He also received “co-producer”
and sound design credit on the Paul Haslinger album Score.
In the same year Side Effects ceased operations.
|Currently activity has come to include sound
design for commercials, as well as ongoing music collaborations
as and when they arise.