Love Is Colder Than Death (Swedish multi-instrumentalists Maik Hartung and Sven Mertens and vocalist Susann Heinrich) debuted with the EP Wild World (Hyperium, 1991) and the album Teignmouth (Hyperium, 1991).
The songs on the album are sequenced so as to progress from the ancient to the modern, from the middle ages to cybernetics, from ecstasy to edonism. At the begining bleakness reigns: gregorian-style psalms, funereal beats, Bach-ian organ drones and gloomy electronic ambience (Tired To Death, Very Ill The zenith of this style comes when the synths concoct the genteel ballet of Structure, the singer merely wailing over the dramatic crescendo (and too bad it's over in less than two minutes). Not far bahind is Questo Mostrarsi, a suave hymn contrasted with a pipe organ, more appriate for a mass in a cathedral than a rock album. Town introduces dissonances, industrial repetition and exotic tones. In the second half, the disco beats take over but do not adequately support the turgid and bombastic tone of the arrangements. The best numbers, Sex And Horror and Wild World, are a far cry from the gothic dances of the Sisters Of Mercy. The tracks that truly shine are the classical-sounding ones, a modest proposal in the vein of Dead Can Dance.

Per quanto non riesca a ripetere la stessa magia, Mental Traveller (Hyperium, 1992) vanta canzoni meglio strutturate. La novita` di Fiorina e Eclogue The Third e` quella di temi ispirati al folk celtico.

Oxeia (Hyperium, 1994) tenta di stendere un altro ponte fra passato e futuro ma con risultati ancor meno suggestivi. L'EP Spellbound (Hyperium, 1995) sembra mettere fine al progetto.

Five years later, Maik Hartung and Sven Mertens are the only surviving members on Atopos (Chrom, 1999), a work that marks a new beginning for Love Is Colder Than Death. The music is now an atmospheric ethnic/gothic rock melange inspired by Dead Can Dance, with acoustic instruments largely replacing electronic keyboards.