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The Prats \/ Come Sunday \/ Iron Man \/ Sex<\/p>\n
Rampton 1 \/ Rampton 2 \/ Shaved Slits 2<\/p>\n
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On Top \/ Mindphaser \/ Rock And Roll<\/p>\n
The Second Coming \/ Coitus \/ Birth Death Experience<\/p>\n
DOWNLOADS REMOVED DUE TO REQUEST OF SUSAN LAWLY RECORDS<\/strong><\/span><\/p>\n Uploaded today is the debut LP by Come and the debut LP by Whitehouse, which were both released on the Come Organisation record label between 1979 and 1980. Both outfits have William Bennett within their ranks, who sailed Whitehouse through stormy waters throughout the band\u2019s lifetime. The Come LP is more guitar based whereas the Whitehouse LP is bang on power electronics, Whitehouse went onto release much darker material throughout parts of the early to mid 1980\u2019s. The debut LP is relatively tame by today\u2019s standards. Although in the context of 1980 this was way, way out. Think Throbbing Gristle and S.P.K\u2019s more unpalatable tracks and the browser may get an idea of this LP. Great stuff all the same. Be aware that the last track on the Whitehouse LP \u2018Birth Death Experience\u2019 is meant to sound as it does for all it\u2019s two minutes and a little bit. Similar to the track by Crass \u2018The Sound Of Free Speech\u2019 off the Small Wonder record copies of \u2018Feeding Of The 5000\u2019 12\u2033. Some browsers may get it, some may not!<\/p>\n I have thieved the text from several sources; the biography is lifted from the allmusic site; all the rest of the text and the photographs (of 1983\/84 era Whitehouse) from the depths of the Susan Lawly site. Thank you to those sites in advance of my theft. A nice bonus was to spot the name Felix Suarez on the credits of the last piece of text. Felix is someone I know quite well through his employment with Southern Record Distributors. I was not expecting his name to turn up on a Whitehouse piece. A pleasant surprise.<\/p>\n A short biography<\/span><\/strong><\/p>\n Whitehouse formed in 1980 on the fringe of the industrial music scene. Created by William Bennett, they pioneered a branch of experimental noise known as \u201cpower electronics,\u201d a genre explored by Japanese artists such as Merzbow. Influenced by contemporaries such as Throbbing Gristle and composers such as Alvin Lucier, Whitehouse developed a unique sound mixing high and low frequencies with aggressive bursts of electronics and vocals. With their label Come Organisation, they released what they termed \u201cthe most extreme music ever made.\u201d Often subject to censorship by stores and distributors due to subject matter and graphic record designs, they never bowed to commercial pressures and remained in control of their music and label. Whitehouse has recorded with Steve Albini since 1989.<\/p>\n William Bennett played guitar in the post-punk band Essential Logic. After leaving the group, he recorded the \u201cCome Sunday\u201d single under the name Come. This ground-breaking release, sequenced by Daniel Miller, featured relentless synthesizer pulses that hinted at the sound that would later typify Whitehouse. The Come Organisation was created by Bennett to release like-minded artists, though the majority of the releases on the label involved the founder himself in some capacity.<\/p>\n The Whitehouse project began with the full-length Birth Death Experience with William Bennett on vocals and synthesizer, Paul Reuter on synthesizer, and Peter McKay credited as effects and engineer. Though relatively timid compared to their later material, it is important for the formation of their unique aesthetic. Their third release, Erector, was one of the first to fully take advantage of the dynamic potential of electronic music. Considered by many as the first power electronics record, Erector set the standard for aggressive experimental noise.<\/p>\n Aware that they were staking new ground, several releases soon followed. They released eight full-length records in three years, each one being proclaimed by the Come Organisation as \u201cthe most extreme music ever made.\u201d During this period, William Bennett found time to collaborate with Steven Stapleton (of Nurse With Wound) as 150 Murderous Passions, a project inspired by the Marquis De Sade.<\/p>\n Satirizing the music industry much like Throbbing Gristle, Whitehouse went to great lengths for originality. While Throbbing Gristle operated Industrial Records as a corporation, William Bennett operated the Come Organisation as a radical libertarian political collective where personal liberty and personal pleasure was to be maintained at all costs. Referring to live performances as \u201cactions,\u201d disseminating propaganda that praised serial killers, and expressing an extreme ideology of personal pleasure via the media, Whitehouse gained a cult following based on their growing mysterious status.<\/p>\n Always controversial, anti-Whitehouse sentiments reached new heights in 1982. People misinterpreted the intention of William Bennett\u2019s article \u201cThe Struggle For a New Music Culture\u201d published in the magazine Force Mental. Controversy surrounding the piece led to further censorship and distribution problems. Following their first U.S. tour, Whitehouse released two of their most shocking records to date: Right to Kill and Great White Death.<\/p>\n These releases took sex and violence as lyric subject matter to unheard-of proportions with the equivalent in extreme electronic sound, and they also saw the addition of two new collaborators Kevin Tomkins and Philip Best.<\/p>\n Come article in Reuters 1 (1979)<\/span><\/strong><\/p>\n Went out \u2018Record Shopping\u2019 in Southampton \/ went to Virgin\u2019s, the ultimate in supermarket chic (something for everyone) all shiny product pleading to be bought\u2026 went upstairs\u2026 millions upon thousands of Singles \/ EPs \/ blah, flicking through so many sleeves, like looking through index cards in a library, one caught my eye \u2013 The Sleeve didn\u2019t shout, it casually beckoned. No overkill attached, just the words \u2018Come 1\u2019 and on the back: \u2018Come 1 Wdc88\u2019. I bought it on the strength of those very sublime \/ curious packaging. I had high hopes for the record because of this impulse buying!<\/p>\n Went home. Played \u2018Come Sunday\u2019 by the Come Organisation times six. Possesses something loud, something brutal, something very abstract, and\u00a0 above all\u2026 Something fresh and vital. God! They seem like they\u2019re enjoying themselves (in their own way) it has guttural, buried vocals, sighing and cajoling, (what, I\u2019m unsure) while, all this time, a tremendous distorted guitar was slowly nagging a phrase to death, shadowed closely by sinister bleeping electronics. Wanted to find out more. No mentions or, reviews in the weeklies. Why? I forget. Time passes. Then, whilst \u2018reading\u2019 Sounds I noticed in the classified ads, a very small announcement offering the single, and an LP \u2018Rampton\u2019 (?) with an address to write to\u2026 wrote away for the LP and included a small interview with it. Very shortly afterwards\u2026 Received record (don\u2019t believe it) and reply\u2026 Read on\u2026<\/p>\n Dear \u2026<\/p>\n Thanks for your letter and interest in COME. I hope you like\u2019 RAMPTON\u2019 as much as \u2018COME SUNDAY\u2019. We\u2019d be very pleased to answer your questions, I hope our answers are adequate for your demands! These answers are a combined group reply, but I will act as \u2018spokesman\u2019.<\/p>\n QUESTION ONE ) WHEN WAS THE GROUP FORMED, AND WITH WHAT AIMS IN MIND?<\/p>\n We made a tape in 1978, which nobody wanted, so we formed Come Organisation as an enterprise, not just in music, but in other contemporary fields, eg. Psychology (alternative). We were very influenced by how Industrial Records (Throbbing Gristle), and Ralph Records (The Residents) administrated. The one single which influenced me the most was \u2018Don\u2019t Worry Kyoko\u2019 by Yoko Ono who, I still believe was years ahead of her time.<\/p>\n QUESTION TWO ) CAN YOU GIVE ME A LIST OF THE PEOPLE WHO COMPRISE \u2018COME\u2019 AND WHAT THEY PLAY?<\/p>\n The four members are myself (William Bennett) \u2013 Guitar, Doctor Death \u2013 synthesiser, David Charles, and Fuckman who share vocals and percussion. Two of the group as you can see use pseudonyms because they\u2019re shy or so they tell me.<\/p>\n QUESTION THREE ) ARE \u2018COME\u2019 A STUDIO GROUP OR HAVE YOU DONE ANY GIGS, IF SO, WHERE AND WHEN?<\/p>\n COME are basically a studio group, mainly because of our general dislike of the showbiz element of playing concerts. Personally from a listeners\u2019 point of view, I prefer the medium of records \u2013 in my own privacy.<\/p>\n QUESTION FOUR ) TELL ME ABOUT \u2018RAMPTON\u2019 LP. HOW LONG DID IT TAKE TO RECORD \/ IS THERE A \u2018CONCEPT\u2019 BEHIND THE TITLE \/ \u2013 HOW IS IT SELLING \/AND HOW MANY DIFFERENT PARTS OF THE COUNTRY IS CORRESPONDENCE COMING FROM?<\/p>\n The RAMPTON LP took about twenty hours of studio time in an 8-track studio in Shepherd\u2019s Bush, but this was spread out through a number of weeks, due to limited funds. There isn\u2019t really a concept \u2013 RAMPTON is only used to generate an atmosphere. We\u2019ve sold almost half of the 850 that were pressed in about four weeks by alternative distribution eg. Rough Trade, etc. etc. We have received letters from all over the place, even a few have strayed over from Europe!!<\/p>\n QUESTION FIVE ) ARE YOU BEING DELIBERATELY OBSCURE, OR IS IT JUST CHANCE THAT THE SINGLE AND THE LP HAVE SO FAR BEEN IGNORED?<\/p>\n To be honest, with the first single, we were consciously being obscure with little detail and minimalist artwork but, to continue like that would be rather self-consciously complacent \u2013 if the weeklies don\u2019t want to know, then that\u2019s their business, but as I\u2019m sure you\u2019ll agree that we\u2019re quite happy in our alternative parallel universe\u2026<\/p>\n A list of London performances from 1982 \u2013 1983<\/span><\/strong><\/p>\n Live action 1 \u2013 08 Feb 1982<\/span><\/p>\n Whisky A Go Go \u2013 London, UK<\/p>\n William Bennett, Steve Stapleton, Andrew Mackenzie<\/p>\n Erector, Shitfun, Rock and Roll, Prosexist, Mindphaser, Anal American, The Second Coming, Buchenwald<\/p>\n Notes: Audience 100 \u2013 The first Whitehouse public appearance was originally scheduled at the Moonlight club but had to be rearranged at the last moment owing to numerous complaints received by the club about the come org publicity leaflets \/ the films Un Chien Andalou and edited highlights of Texas Chainsaw Massacre were shown before the Whitehouse performance \/ filmed on super 8 by Paul Hurst<\/p>\n Special biographical note: The live sound engineer for Whitehouse for Line Actions 01-07 & 23 was IPS Studio man Dave Kenny who contributed towards the improvisational aspect of some early performances.<\/p>\n Live action 2 \u2013 08 Mar 1982<\/span><\/p>\n Whisky\u00a0 A Go Go \u2013 London, UK<\/p>\n William Bennett, Steve Stapleton, Glenn Michael Wallis<\/p>\n Non-linear improvisational performance<\/p>\n Notes: Audience 100 \u2013 PA system arrives at 10pm \/ violence from Iranian bouncers \/ management refuse to sell alcohol at the last minute \/ filmed on super 8 by Paul Hurst<\/p>\n Live action 3 \u2013 09 Mar 1982<\/span><\/p>\n Gossips disco \u2013 London, UK<\/p>\n William Bennett, Glenn Michael Wallis, John Murphy<\/p>\n Non-linear improvisational performance<\/p>\n Notes: Audience 20 \u2013 Whitehouse originally booked here to support Peter and the Test-Tube Babies who subsequently did not make it \/ Whitehouse left as headlining band for all the punks who had turned up \/ predictably chaotic results as Whitehouse are forced to abandon the live action after about 15 minutes \/ no audio recording of this performance is available \/ filmed on super 8 by Paul Hurst<\/p>\n Special biographical note: During this period until Live Action 33 most performances in London were booked by Whitehouse manager Jordi (George) Valls who presented Whitehouse to clubs as \u2018electropop\u2019-oriented. Sound checks would therefore also have to be disguised to prevent cancellation from venue managements.<\/p>\n Live action 4 \u2013 01 May 1982<\/span><\/p>\n Centro Ib\u00e9rico \u2013 London, UK<\/p>\n William Bennett, Glenn Michael Wallis, John Murphy<\/p>\n Non-linear improvisational performance<\/p>\n Notes: Audience 100 \u2013 This live action was originally arranged for the musician\u2019s collective but some members complained and Whitehouse was banned shortly before date \/ support is neo-naturist cabaret \/ live action 04 was released in its entirety on the Whitehouse LP Psychopathia Sexualis<\/p>\n Special biographical note: The Centro Ib\u00e9rico was a disused primary school in the Harrow Road which had been taken over by Spanish Anarchist squatters. Throbbing Gristle had performed a successful Sunday lunchtime show there not long before.<\/p>\n Live action 5 \u2013 05 Jul 1982<\/span><\/p>\n Centro Ib\u00e9rico \u2013 London, UK<\/p>\n Notes: Cancelled \/ the tracks on Fur Iise Koch compilation refer to live action 6 (not 5 as stated) \u2013 the live actions were later renumbered to take into account cancelled events<\/p>\n Live action 6 \u2013 12 Jul 1982<\/span><\/p>\n Centro Ib\u00e9rico \u2013 London, UK<\/p>\n William Bennett, Glenn Michael Wallis, John Murphy<\/p>\n Non-linear improvisational performance<\/p>\n Notes: Support acts are neo-naturist cabaret and Phillip Best\u2019s Consumer Electronics<\/p>\n Live action 7 \u2013 06 Nov 1982<\/span><\/p>\n Fulham Greyhound \u2013 London, UK<\/p>\n William Bennett, Glenn Michael Wallis, John Murphy<\/p>\n Non-linear improvisational performance<\/p>\n Notes: Audience 160 \u2013 Headline group is Flux of Pink Indians \/ Whitehouse are invited to play on bill by Annie Anxiety \/ live action lasts less than ten minutes \/ no audio recording of this performance is available<\/p>\n Review:<\/p>\n Excellent; the most complete Whitehouse performance. Glenn\u2019s synths made your head feel like it was repeatedly being hit with a sledgehammer whilst John Murphy\u2019s electronics pierced into the pain level. Beautiful.<\/p>\n WHITEHOUSE PERFORM (AND NON PERFORM) IN USA UNDER DEATH THREATS IN SOME PARTS OF THE COUNTRY \u2013 SKIP TO NEXT LONDON PERFORMANCE<\/span><\/p>\n Live action 21 \u2013 21 Jun 1983<\/span><\/p>\n Camden Musicians co-op \u2013 London, UK<\/p>\n William Bennett, Kevin Tomkins, Philip Best<\/p>\n Notes: Whitehouse were the advertised \u2018mystery guest band\u2019 of the equinox event (featuring performances by Coil, Nurse With Wound, Etat Brut, Club Moral, John Murphy, Dave Tibet\u2019s Dogs Blood Order, Test Dept. and others) organised by Mary Dowd \/ however, Whitehouse were banned on the eve of the event after Philip Best had a fight with Mary Dowd<\/p>\n Special biographical note: This was to be the first live action with the new \u2018super-powerful\u2019 line-up of Philip Best (15 years old) of Consumer Electronics and Kevin Tomkins of Sutcliffe Jugend.<\/p>\n Live action 22 \u2013 01 Jul 1983<\/span><\/p>\n Roebuck \u2013 London, UK<\/p>\n William Bennett, Kevin Tomkins, Philip Best<\/p>\n Right to kill, Bloodfucking, Anal American<\/p>\n Notes: Audience 80 \u2013 support groups are Ramleh and Bushido (featuring Glenn Michael Wallis and Gary Levermore) at low volume \/ Steve Stapleton gets arm cut after flying glass during Whitehouse performance \/ police raid in large numbers midway through Anal American \/ many arrested in chaos \/ Whitehouse manager Jordi Vallis spends night at police station for barring access to police<\/p>\n Review:<\/p>\n Wasn\u2019t the half-hour wait for Whitehouse worth it? Yes, it was. Philip Best, the king of the nasties, walked on programming his tool of ultimate power: sound. Next walked on Kevin Tomkins who fiddled with the oscillators so harshly, he was torturing his own machinery! Then the brainiac of the Come Organisation, William Bennett, flitted along the floor, dictating and screaming \u201cKill\u201d like Hitler never could, gesticulating \u201clouder\u201d, \u00a0a helper, \u00a0I think, persuaded the public address bloke that more power was needed, with the sound ultimate violent playing, the anger was brewing. A fag butt directed at the audience, a glass of beer, beer glasses, the boys took over, objects were flying like a testing range, one bloke who decided that a beer glass cutting his arm was not very social got on stage and kicked the equipment over. William seemed to direct his anger to Phil by \u201ccome on\u201d gestures, the doors were barricaded and officers of the law kicked the door down and literally dragged an angry man down the stairs in not the most polite fashion. Was that a Whitehouse performance, total anger, rage and violence? I mean, all their lyrics are \u201cFuck\u201d, \u201cKill\u201d, \u201cShitfun\u201d, \u201cBuggerfuck\u201d, now what are you meant to think? Is it pretending of a warning, a sign of sheer dominance and then sheer fascism and sexism? Well, I don\u2019t know, but if it is, fight it, if not, we should support the noble cause.<\/p>\n Live action 23 \u2013 11 Jul 1983<\/span><\/p>\n The Clarendon \u2013 London, UK<\/p>\n William Bennett, Kevin Tomkins, Philip Best<\/p>\n Right to kill<\/p>\n Notes: Audience 50 \u2013 Support group is Ramleh \/ sound cut off by club management after one song \u00a0\/ Whitehouse fanatics complain vociferously to club\u2019s hippie sound man who claims Whitehouse \u201cnot music\u201d<\/p>\n Review:<\/p>\n Ramleh played for about 20 minutes and then finished. I really enjoyed it. After a short while Whitehouse came on and launched into \u2018Right to Kill\u2019. The American guy I was with got up from the table we were sitting at to take a photo and Philip Best lifted his synth off the stack of beer crates it was on and was gonna throw a beer crate at us. I had already read what was gonna happen and moved pretty swiftly to the back, as did the American guy. So nothing happened as we had already moved before anything could have happened. When I got to the back I noticed lots of people (well 30 or so actually, as that\u2019s how many people were here to watch Whitehouse & Ramleh) with weird etchings cut out in their cropped hair and someone wearing an Ian Brady and Myra Hindley T-shirt and someone else wearing a fascist German T-shirt of some sort. My heart by this time was doing ninety to the dozen. I don\u2019t mind admitting that I was terrified. the place was a dimly lit basement which really matched the atmosphere.<\/p>\n Anyway. The immense power of Whitehouse was still continuing and by this time a bloke and a girl got up and left which was followed by loads of abuse directed at the girl from Bennett. I was stunned and then Bennett started goose-stepping around the floor still screaming \u201cIt\u2019s your right to kill, it\u2019s your fucking nature\u201d. After what seemed like ten minutes \u2013 it was all finished. I was left totally amazed at what I had just witnessed. I left to get the train with an experience of a lifetime that I will always treasure. I never thought I would witness a concert that got me terrified but left me enjoying the experience once it was all over. Whitehouse at their best for me.<\/p>\n Whitehouse article in Factory 13 1\/97 (translated from Spanish) by Felix Suarez<\/span><\/strong><\/p>\n If the foolish Sandy (Blue Velvet) were to hear Whitehouse, she would surely repeat her favourite expression \u2018 it\u2019s a strange world\u2019. There would then sound one of the most scandalous roars of laughter that you\u2019ve ever heard in your life, that of William Bennett.<\/p>\n But no. Sandy will never hear it because despite her similar obsessions (and sense of humour), the place where David Lynch involves his obsessions \u2013 a fetishist mystery that is visually attractive for the mass market \u2013 has a pseudo cultist and pseudo kitsch justification for the comfort and relief of the viewer, so they won\u2019t feel threatened. The monster created by William Bennett more than fifteen years ago presents us with his obsessions with all their harshness: direct, aggressive, terminal, extreme, uncomfortable for that same viewer that now feels like a victim. As one of their members, Philip Best, rightly described, \u201cThe concept of Whitehouse is pleasure. Pleasure for ourselves, even at the expense of others\u201d.<\/p>\n \u201cI always had the fantasy of making a sound which could bludgeon an audience into submission. Groups like Throbbing Gristle, Cabaret Voltaire and other records from the 70s, some strange ones by Yoko Ono and suchlike all inspired me; but neither were they sufficient,\u201d explains William, with a smile which can break out at any moment. It\u2019s hard to imagine him playing the guitar in Essential Logic. \u201cI recorded that single \u2018Wake Up\u2019 when I was 17. I wanted to get into the music scene, but I didn\u2019t know anything about experimental music then. It was afterwards, when I met Daniel Miller (Mute Records). We went on tour and Daniel showed me some strange German music from the 70s, electronic stuff; he took me one day to Genesis P-Orridge\u2019s house. I found out about that music through Daniel. I tired quickly of rock after that. Also, for me, especially when the Sex Pistols\u2026. They seemed a great group to me, but they had to be the last rock group. There couldn\u2019t be anything after them. So, when they broke up, I was already looking for something new.\u201d<\/p>\n The \u2018legendary\u2019 Wasp synthesiser sold by Robert Rental and Daniel Miller\u2019s advice helped to start up the Come Organisation, the record label that also gave name to the embryonic\u00a0 group (Come) to which once in the 80s would be Whitehouse. The name is a play on words: Whitehouse is both the name of a British porno magazine and the surname of Mary, an English activist on a constant crusade against the alleged proliferation of filth on TV. The elements of their sound are already in place on their debut album, \u2018Birthdeath Experience\u2019 (1980), a powerful combination of screeching high frequencies and other almost subsonic low frequencies; violent waves of pink noise; imperceptible variations amidst the aural saturation of the passive listener; total absence of rhythmic backing (they hate it); and rising like from a tunnel of horrors, a dominating voice that shouts at you and orders you, treated so that the words can scarcely be made out. Although on the first LP there was an accompanying lyric sheet \u2013 which made them even more disturbing. \u201cYes, it\u2019s music, simply for the format in which you release it. It\u2019s like art. It\u2019s art because it\u2019s in an art gallery. It\u2019s that simple. If you bring out a CD, it has to be music. Anyway, I think that it is much more musical than a lot of minimalist or experimental music because at the end of the day, there are songs, there are lyrics and in a certain way, there are melodies too.\u201d<\/p>\n Somebody once described Whitehouse as \u201cmusic you are conscious of when it ends\u201d. The comment refers to the effect of its silences \u2013 at times whole songs like \u2018Birthdeath Experience\u2019 and \u2018Politics\u2019. On vinyl there was the attraction of the noise of the static and the scratches: now on CD people are saved with a button press. Amongst other things, it reveals the condition of some discs \u2013 most of them are scarcely longer than half an hour. They work by saturation, since those silences never announce a final relief. They are not a sign of tranquillity or relaxation for the listener who is on alert for the imminent blast of noise.<\/p>\n If we had to talk of stages in the evolution of Whitehouse, a first, by definition would culminate with \u2018Erector\u2019 (1981). The collaboration with Steven Stapleton\u2019s Nurse With Wound on the instrumental brut \u2018The 150 Murderous Passions\u2026\u2019 (1981) opens the way to a period of thematic interest in mass murderers. This starts out on \u2018Dedicated to Peter Kurten\u2019 (1981) up to \u2018Right to Kill\u2019 (1983), where they dedicate a track to Dennis Andrew Nilsen, at whose trial the band were present \u201cbecause it was right next to our home\u2026 for the morbid fascination\u201d.<\/p>\n Until the mythical \u2018Psychopathia Sexualis\u2019 (1982), the trio were made up in the studio with Peter McKay and Paul Reuter. Their role was pretty much that of studio musicians, and when in February of 1982, they began live concerts, the famous live actions, their line-up went through a series of like-minded musicians like Steven Stapleton (Nurse With Wound); Kevin Tomkins (founder of Sutcliffe Jugend, a disciple but more importantly, passed over part of his repertoire to Whitehouse then retired to a family life and then returned again in the 90s with the rock group \u2018Body Choke\u2019 and ended up resuscitating Sutcliffe Jugend; \u00a0Philip Best \u2013 his Consumer Electronics were also very extreme and intense, since he was 14 he has been in Whitehouse in different eras, and also in the imitators Ramleh; Peter Sotos \u2013 from Chicago, publisher of recordings and printed material that have caused him, shall we say, the odd legal problem; Glen Michael Wallis \u2013 of Konstructivits, he only collaborated in some live performances where \u201cwe would give him the synthesiser without keys so that he wouldn\u2019t try and be a \u2018virtuoso'\u201d; David Tibet (Current 93); Jordi Valls (Vagina Dentata Organ, see Factory 9) or John Murphy \u2013 another session musician who has since played with The Associates, SPK, Shriekback, Gene Loves Jezebel and Hoodlum Priest.<\/p>\n \u2018Right To Kill\u2019 with Kevin Tomkins and Philip Best, and \u2018Great White Death\u2019 (1985), advances up to a \u2018point of no return\u2019 that, after two abrasive performances in the 666 Club in Barcelona (1\/85), arrived at a cessation in activities. This was for essentially creative reasons but also logistic owing to various changes in members\u2019 places of residence. The relaunch would take place in Chicago with some interminable sessions, begun in 1985, in Steve Albini\u2019s studio. \u201cI met him through his friendship with Peter Sotos. He is extremely creative and he gives something to every song; so if I had an idea and we recorded the sounds, he would then change it a bit improving it further\u201d.<\/p>\n \u2018Thank Your Lucky Stars\u2019, first single (1988) then album (1990), shows Whitehouse bringing a more refined and \u2018purged\u2019 sound to the 90s. A return which was supported by two successive compilations and the reissue of all their discography on CD at an annual rhythm, in order to take on the constant bootlegging and to compensate for the limited editions of the records.<\/p>\n For the new era, Susan Lawly took over the rein from the Come Organisation. The exquisitely brutal evolution of their sound has given birth to masterpieces like \u2018Never Forget Death\u2019 (1992) or the more varied and adventurous \u2018Twice Is Not Enough\u2019 (1991). The latter contains one of the sporadic collaborations of Scorpio, alter ego of Chris Connelly (Ministry) based on his admiration for the bad guy in Dirty Harry: \u201cFrom before he played, he was a big fan of Whitehouse. When we began, he would have been about 16, and we were the first music that he listened to. What he does nowadays isn\u2019t to my taste.\u201d The now journalist and occasional \u2018musician\u2019 Stefan Jaworzyn also intervened in the first chapters of that powerful and necessary rerun. \u201cHe owes money to people all over the place, and much of his record collection is just for show; in reality, he\u2019s just a jazz fan\u201d. Now established in recent years and from the 80s, the trio (\u201cwe must always be three\u201d) of Bennett, Best and Sotos, their latest studio album, again with Steve Albini, is \u2018Quality Time.\u2019 (1995) that promises \u201cnew recording techniques\u201d. \u201cWe\u2019ve experimented with a new style: it\u2019s just as extreme. It\u2019s difficult to explain what\u2019s new about it (laughs) but it\u2019s\u2026. Well, it\u2019s all on the same wavelength, but with new instrumentation, some of it digital.\u201d<\/p>\n The new era of Whitehouse brings with it an apparent change in public attitude. If before they played with a certain calculated ambiguity, with a provocative air in declarations and live from a music which seems to demand a counter-reaction just as violent, nowadays the declarations are more in the sense of \u201cwe make music for our fans, not to offend people\u201d. \u201cI don\u2019t believe we\u2019ve ever provoked deliberately: it\u2019s what it might seem like, but it\u2019s always been about our own tastes: or let\u2019s say our obsessions. The appearance has changed somewhat. The covers are prettier, everything seems nicer, it might all appear more commercial even but the truth is that our obsessions, our tastes and even the meanings of the lyrics haven\u2019t changed all that much (laughs). A little of the mask of normality, appearance is a key and everything appears normal but isn\u2019t.\u201d Perhaps that brought with it as a consequence a certain level of attention from the UK media \u2013 that had pretty much tried to ignore them before \u2013 when they reappeared, and which has since returned to little. \u201cNever have we had a special fame. There would be the odd review of concerts or records but\u2026 That\u2019s the way things go, in cycles. We\u2019ve never been especially fashionable but with time the same things can be seen in a different light. For example, all the atrocities of this century are deplored, but things that happened in Roman times are almost seen as amusing, aren\u2019t they? It\u2019s like Jack the Ripper, now he\u2019s a kind of folk hero, all those books show him as being an almost mythical figure.\u201d<\/p>\n In their now almost 80 live actions all type of things have happened. The time when the doors were blocked so that the police couldn\u2019t get in, and when they were opened the group left the venue without being stopped thanks to their normal appearances, while the raid on the audience continued. Another time when he slapped a girl in the audience \u2013 \u201cI used to do it often. In Newcastle afterwards we were banned for playing for 10 years\u201d \u2013 and after the tumult they ended up playing for just a single person who turned out to be the guy in charge of locking the venue. Another time in San Francisco, supported by up and coming heavy metal group Slayer, \u201cI quite liked some of their lyrics, quite interesting, but, Christ, the music is the same as always, drums, rock and roll.\u201d And on another occasion \u2013 \u201cin Olympia (Washington), near Seattle there were some Christians outside the venue playing acoustic guitars \u2018Don\u2019t let them play! Don\u2019t let them play!\u2019. Then during the show, one of them came into the venue with a big cross and approached the stage like this, as if we were vampires. When this failed, they called the police and said we had no work permits, we always went to the States as tourists because of the bureaucracy involved in getting permits.\u201d Part of these performances, quite surreally, can be heard on a \u2018Whitehouse Audience Noise Tape\u2019 brought out by the Japanese magazine \u2018IR\u2019. \u201cIt\u2019s like an hour of sounds from between and after songs. It\u2019s pretty incredible, everything\u2019s on it apart from music, all edited non-stop from 1982 up until now.\u201d<\/p>\n One could call it electronic hardcore, in a way \u2018ambient\u2019, or simply repulsive, but the one thing for sure is that, if at any time music has arrived at an extreme, it would be Whitehouse. \u201cIt\u2019s also been said that it was a sort of \u2018John Cage for the people\u2019, but of course definitions are impossible, and I\u2019m not saying it as a boast, because I like similar sounding music, but there is nothing near it.\u201d Of course, it\u2019s because their supposed imitators are pathetic. \u201cIt\u2019s not that they\u2019re bad, but it\u2019s usually far removed from\u2026 the purity. Also sometimes people think you just pick up a synth and make some white noise for a few minutes, and it\u2019s obviously a lot more than that.\u201d<\/p>\n And how do you explain that it\u2019s more than that to people who don\u2019t understand that, or think they understand it? \u201cIt isn\u2019t explained, because those who understand, understand. The references and the illustrations work on many levels, and sometimes they are only understood on the most basic level, and people may fail to see a dimension much more\u2026 It\u2019s like colours to a blind person, if he can\u2019t see them, he can\u2019t see them \u2013 it can\u2019t be explained.\u201d<\/p>\n In any case, what it does show those poor imitations is how difficult it is to do it well. \u201cYou have to think about it a lot, in other words, the songs are very well thought out and composed. It\u2019s not something random, not just get out the synths and make a noise\u2026 the lyrics and the sounds, everything, you\u2019ve got to think for a long period about what you\u2019re going to do. For example, on \u2018Quality Time.\u2019 everything was very studied and planned over a couple of years. Besides which in recent years the arrangements have been pretty complex.\u201d<\/p>\n Do you discard much material? \u201cNot a great deal, because we always go to the studio well prepared. For example, the singing of the lyrics on the last album was rehearsed for a long time before going to the studio, at times, when going down the motorway when nobody else can hear you, and things like that. I told some Japanese guys who\u2019d asked me how they could possibly play because in Japan they had a problem owing to the very small houses, they couldn\u2019t rehearse at home. The noises, maybe, because the volume could be turned down but the voice was almost impossible to record because it would be heard through the thin walls and also the recording studios in Japan are prohibitively expensive. \u2018What can we do? Could you give us some advice?\u2019 And I told them as above or if they\u2019re in the middle of the countryside etc. \u2018Ah, great! We\u2019re gonna do that!\u2019 So now I have the vision that in Japan right now there are a bunch of lunatics there in the parks and on the motorways screaming and shouting Lord knows what.\u2019<\/p>\n In addition:<\/p>\n William Bennett played the drill without realising it on the record by US group Bastro \u2018Diablo Guapo\u2019 (1989) produced by Albini who overdubbed the tape. Another US group \u2018Christ On A Crutch\u2019, brought out the single entitled \u2018Kill William Bennett\u2019, although it seems that they might be indicating the Republican senator of the same name who recently tried to ban explicit and profane rap music recordings. Although his namesake says, smiling, that he\u2019s in agreement with him, one supposes that if such a proposal became real, the recordings of Whitehouse would also be affected, wouldn\u2019t they?<\/p>\n","protected":false},"excerpt":{"rendered":" The Prats \/ Come Sunday \/ Iron Man \/ Sex Rampton 1 \/ Rampton 2 \/ Shaved Slits 2 On Top \/ Mindphaser \/ Rock And Roll The Second Coming \/ Coitus \/ Birth Death Experience DOWNLOADS REMOVED DUE TO REQUEST OF SUSAN LAWLY RECORDS Uploaded today is the debut LP by Come and the […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[10],"tags":[],"class_list":["post-6320","post","type-post","status-publish","format-standard","hentry","category-links-downloads"],"_links":{"self":[{"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/posts\/6320","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/comments?post=6320"}],"version-history":[{"count":15,"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/posts\/6320\/revisions"}],"predecessor-version":[{"id":11118,"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/posts\/6320\/revisions\/11118"}],"wp:attachment":[{"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/media?parent=6320"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/categories?post=6320"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/killyourpetpuppy.co.uk\/news\/wp-json\/wp\/v2\/tags?post=6320"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"http:\/\/i192.photobucket.com\/albums\/z149\/pengy1966\/KYPPWH2.jpg\")
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