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If English is your first language and you could translate my old Italian text, please contact me.
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Whitehouse, originally an open collective led by William Bennett (a classically trained guitarist who also played in
Essential Logic, before turning to electronic keyboards),
were protagonists of British industrial music at the peak of the vogue
after the success of Throbbing Gristle.
L'idea
di partenza non era del tutto scontata: due sintetizzatori analogici
(volutamente anacronistici nell'era del digitale), operati da Jim Goodall e
Peter Sotos, e il canto psicotico di Bennett, a comporre musica
elettronica e vocale estremamente abrasiva e con sovratoni infernali (quando
non nazisti).
In quel genere il trio registro`
pero` una ventina di album fra il 1980 e il 1985 (per la Come Organization),
senza mostrare la benche' minima padronanza di mezzi e la benche' minima
fantasia:
Birthdeath Experience (1980),
Total Sex (1980),
Buchenwald (1981),
The 150 Murderous Passions (1981), which was a collaboration with
Nurse With Wound,
Dedicated To Peter Kurten Sadist And Mass Slayer (1981),
Erector (1981),
New Britain (1982),
Psychopathia Sexualis (1982),
Right To Kill (1983),
Great White Death (1984), which was perhaps the best of the batch,
etc,
Another Crack Of The White Whip (1991),
Twice Is Not Enough (1992),
etc.
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(Clicka qua per la versione Italiana)
One had to wait until the 1990s, until the four mini-suites of the EP Thank You For Your Lucky Stars (Susan Lawly, 1990), before listening from them some true music.
The mediocre
Halogen (1994) and Quality Time (1995) paint minimal landscapes.
Mummy And Daddy (1998) is a concept on sexual violence and contains
A Cunt Like You.
Instead, The Dead C (Siltbreeze) and Cruise (Susan Lawly, 2001)
turned towards a sort of psychedelic ballad (Princess Disease).
Whitehouse never abandoned the nuclear sound of its beginnings.
Bird Seed (2003) contains two of their most visceral numbers,
Why You Never Became A Dancer and Wriggle Like A Fucking Eel.
as well as the "African" Cut Hands Has The Solution,
and Asceticists (2006) boasts Nzambi Ia Lufua.
Meanwhile, Kevin Tomkins and Paul Taylor formed another outfit of
power electronics,
Sutcliffe Jugend that released
Pleasure Corpse, Sutcliffe Jugend and Death Mask.
Sutcliffe Jugend evolved into Bodychoke, that released
Mindshaft (1994),
Five Prostitutes (1996),
Cold River Songs (1999 - Relapse, 2009).
Having fallen in love with African music, Whitehouse's William Bennett
started a parallel project, Cut Hands, devoted to polyrhythmic
African hand percussion without surrendering the noisy electronica, as
documented on
Afro Noise I (Very Friendly, 2011),
Black Mamba (Very Friendly, 2012),
Festival Of The Dead (Blackest Ever Black, 2014), etc.
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