Review: Lustmord Lombardo ‘The Pulse Of Atoms’
Dave Lombardo (Slayer, Dead Cross, Fantômas, Venamoris, Suicidal Tendencies, Mr Bungle, Philm, etc.) has always been musically open-minded, which this collaboration with Lustmord, aka Brian Williams (SPK, Chris & Cosey) amplifies yet further.
The two men first met backstage at a Fantômas gig after being introduced to one another by mutual friend Buzz Osborne of the Melvins, who had collaborated with Lustmord on the 2004 album Pigs Of The Roman Empire.
The Pulse Of Atoms, according to the PR, ‘showcases an unheard side of Lombardo and brings Lustmord back to his industrial roots’. This is true; Lombardo is something of an anomaly in metal, a lot of those musicians tending to not veer very much out of their lane; former Slayer bandmate Kerry King, for instance, is hard to imagine him doing anything as adventurous as this. As for Lustmord, having covered prior works such as 2022’s The Others and 2024’s Much Unseen Is Also Here, I’m intrigued to hear this hinted at change in direction. This is going to be fun.
An Eternal Presence Part I: Unknown features Lustmord’s usual dark swirls of noise while Lombardo’s tribal drumming accompanies in an ominous manner at intermittent moments. It’s kind of filmic, like it belongs on the Conan the Barbarian soundtrack; one can’t help but wonder whether the duo were listening to Basil Poledouris prior to the recording.
This is followed by An Eternal Presence Part II: Relentless. From a drumming perspective, it recalls London’s Test Dept with thunderous industrial pounding, while the dark ambient backdrop feels like a storm cloud about to break at any moment. If you’re listening to this on headphones, you may want to turn the volume down, as your ears may start to bleed – absolutely stunning.
Paleomagnetic Resonance, unlike its predecessors, feels less sparse, more claustrophobic and even disturbing. The clattering of sounds further adds to this effect, as do the SUNN O))) style drones from around the time of Black One, undoubtedly that band’s finest hour. Beyond The Vast Cold Waste has a noir jazz feel, with what sounds to my ears like a lonely saxophone (spot the non-musician in the room), exemplifying the sense of isolation the listener experiences. It has a strangeness in common with David Lynch’s Lost Highway; of course it was going to be a favourite.
the dark ambient backdrop feels like a storm cloud about to break at any moment…
The Desolate Shore Part I: Submergence proves why Lombardo is such a highly regarded and respected drummer. From punky jazz fills (reminiscent of the Circle Jerks’ Lucky Lehrer) to hip-hop and funk grooves, the versatility is evident, and that he performs it all so effortlessly is nothing short of extraordinary. The rest of the track takes the foot off the gas a little more but without compromising the power and intensity.
Serving as the sonic polar opposite to what has just gone before, The Desolate Shore Part II: Emergence starts off slowly before exploding in its latter half. Given the title, it’s not altogether surprising, but it’s smart songwriting fo’ sure.
The Abyssal Deep at nearly ten minutes is the longest song on the record and has a very ‘70s crime thriller sensibility; the cymbal work is especially reminiscent of what one might get with Lalo Schifrin’s work on the first Dirty Harry film, and this contrasts brilliantly with Lustmord’s more contemporary sounds.
As a fan of both artists, I wouldn’t have expected anything other than perfection from them, and thankfully my high expectations were met by some distance. With any Ipecac release, it’s going to be challenging, yet one that’s definitely recommended.
Label: Ipecac Recordings
Lustmord: Official | Facebook | Bandcamp | Spotify | Instagram
Lombardo: Facebook | Bandcamp | Spotify | Instagram
Scribed by: Reza Mills
