Lusts, the recording pseudonym of brothers Andrew and James Stone, return with their brand new LP Call of the Void. The self-recorded and self-released LP has a diverse palette of sonics and themes, having been inﬂuenced by the endless motion of the city, otherworldly nights, and brutalist architecture. It’s a utopian and romantic record; Lusts are more interested in being part of a developed and progressive future than being caught in a dystopian mire. The album is hopeful rather than despairing, but there are also explorations of darker themes.
Call of the Void (or ‘l’appel du vide’ as it was initially inspired) covers concepts of artiﬁcial intelligence, the fragility of mental health, gothic futurism, nostalgia, and the void itself. It’s also evolved from the bands travels across the UK, Europe, and the US, as well as their experiences living in London, the tracks have taken inspiration from a range of new sounds, visuals, and encounters such as Andrei Tarkovsky ﬁlms Stalker and Solaris, Mikhail Bulgakov’s The Master and Margarita, Francis Bacon paintings, as well as Grimes, Tame Impala and William Basinski.
Utilising the haunting, reverb-drenched production of classic 80’s post-punk as well as the glistening sheen of the iconic synth-pop the decade is so famous for, Lusts explore a rich soundscape of Lynchian ambiance amongst their poppier hooks. There’s a layer of experimentation here too, whether it’s Andy drawing from the themes of Jean Baudrillard’s America for the single ‘lost highway’ or James introducing a rhythmic pattern by tapping pint glasses, inspired by Steve Reich’s minimalistic approach, for ‘joy in a joyless place’.