Whitehouse

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), 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), etc, Another Crack Of The White Whip (1991), Twice Is Not Enough (1992), etc.

Bisognera` aspettare fino agli anni '90, alle quattro mini-suite dell'EP Thank You For Your Lucky Stars (Susan Lawly, 1990), per ascoltare da loro della vera musica.

Halogen (1994) and Quality Time (1995) paint minimal landscapes.

Mummy And Daddy (1998) e` un concept sulla violenza sessuale e contiene A Cunt Like You. Invece The Dead C (Siltbreeze) e Cruise (Susan Lawly, 2001) virano verso una ballata psichedelica persino ritmata (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, 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.