If there's one thing to be said for Peter Kruger, it's that he knows how to make an impression. Although not unfairly regarded as the least accomplished musician in the group, the founder member and former frontman of Lustfaust is mentioned specifically in a disproportionate number of the album and gig reviews featured in Falke Tranen, while those more closely involved in the band need little prompting to tell you precisely what they thought of Peter. The opinions vary drastically from reverence to loathing.

“I'm sure you're gonna hear a lot of bad things about Peter, from Guido at least, but like it or not Lustfaust owe a good deal of what success they had to him” says Ashworth. “Of course, he played a pretty big part in their failure too.”

“I can't imagine Lustfaust having existed without him though. I don't think they'd have got together if he hadn't been there to suggest it. He had a lot of charm and could be very persuasive. At times he had a kind of infectious enthusiasm, a confidence that made him a very good salesman. I think it transferred well to the stage, I can't see many people would have got away with what he did. Having said that there were times where he didn't, I suspect he still has the scars to prove it.”

The two ingredients Kruger brought to Lustfaust were a maniacal and magnetic on-stage presence and a lyrical content that relieved (or robbed) many compositions of their austerity, their seriousness. Although much is made of the carnivalesque antics that captivated and antagonised audiences all over Europe, less is said generally about his impact on the bands music. One of the more striking things when listening to the albums of Lustfaust is the is the variety they contain, or more accurately the difference. It is not unusual for nine minutes of wordless operatic experimental musicality to sit side by side with a three minute rock song, a flurry of rhymes and witticism in praise of sex or drugs. The contrast makes listening to the albums an arresting, often bemusing, experience. Another benefit of this contrast is that it documents quite clearly the ideological split between Kruger and Van Baelen with regards to the band. The growing rift and their mutual animosity is palpable.