Brian Williams – better known as Lustmord – has cultivated a considerable reputation for his exploratory sound design and singularly dark ambient style, with his 2008 [ O T H E R ] album standing as one of his most notably revered efforts. So, one can imagine the excitement of the artists who participated in this venture to remix and reinterpret selections from that album to showcase Lustmord’s profound influence across the spectrum of sonic darkness. Given the esoteric and almost inherently non-musical nature of the genre, even the most discerning connoisseur would likely have difficulty identifying these iterations to Lustmord’s originals, which might seem counterintuitive to the point of such a collection; however, the acts featured on The Others [Lustmord Deconstructed] aren’t primarily denizens of dark ambient, instead utilizing its traits to enhance their own visions in the realm of industrial and exploratory metal. While the focus may be on [ O T H E R ], these tracks serve more as a tribute to Lustmord as a creative force and the manifold effects of his work. Of course, true to the subject’s style, hazy and cavernous drones persist throughout, broken primarily by intermediary passages that dispel the monotony and provide vignettes of aural intrigue – the resonant and chiming guitar amid crushing percussion in MONO’s rendition of “Er Eb Os,” Jo Quail’s saccharine yet seductive cellos in “Prime,” or the thunderous post-metal interplay of distressed voices, electronics, and guitar in Spotlight’s take on “Of Eons,” Bohren & der Club of Gore’s almost jazz-noir infusion of saxophones and trickling pianos on “Plateau,” or the discordant samples amid layers of ululating sound in Ihsahn’s “Dark Awakening,” the latter being especially relentless and unsettling as it concludes with an abruptly silenced scream… definitely the album’s most chilling moment. Other tracks take on a more directly rhythmic though not necessarily more accessible approach, like in the marching apocalyptic grandeur of Godflesh’s “Ashen,” the tribal and ritualistic splendor of Zola Jesus’ version of “Prime,” the cold electronic beats and gothic metal ambience of “Element” by CROWN, or the incessant tension of gated electronics and guitar by Harvestman on “Testament.” It’s quite gratifying to hear these artists so effectively delving into this sound in so organic a fashion, honoring the sounds that help guide their own very different yet kindred sonic pathways. All of this and more ensures that The Others [Lustmord Deconstructed] offers an expansively disturbing two hour listening experience.