Whitehouse Albums (15)
What The Critics Say
The fainthearted should be warned of the recordings of Whitehouse.Noise music freaks will find even the most abrasive works of Merzbow, C.C.C.C., and the like to pale next to the extremity of these recordings. This group works with concepts of brutality and harshness in sound and content -- an approach that is difficult to stomach for even hardened noise listeners. This depraved and violent project's tenure lasted throughout the '80s and '90s when they released some of the harshest and most difficult recordings that the post-industrial and underground noise camps would witness. Fans of the group should know that this recording presents quite a departure from the analog sound of earlier works. In its place is an equally abrasive wall of digital noise made up of hammering beats and high-pitched drilling-tone punishment, over which the trademark dialogues of depravity and sickness are delivered in clipped distortion. An exercise in utter repulsion, there is no denying that Whitehouse represents a necessary extreme in avant-garde noise music, making it their business to push the limits a few notches too far; by challenging every taboo and violating the listener, the work is profoundly discomforting to say the least. In going beyond the limits, Whitehouse raises questions of acceptability in art that surmount to a conceptual polemic inquiry which would inevitably be made in the dark realms of the extreme. Someone has to set the threshold, and Whitehouse made that their goal for a good 20 years, which culminates in this subversive masterwork. ~ Martin Walters, All Music Guide
What The Critics Say
The first half of Quality Time sure confuses a hard-boiled Whitehouse fan: "Told" and "Quality Time" are too laid-back to be Whitehouse songs, as the vocals are less enthusiastic and the background samples aren't as crushing as they were on the two earlier albums. However, Quality Time isn't a bad album at all; in fact, when it comes to the themes of the songs and their implementation, Quality Time pushes the limits of Whitehouse's music further than ever. "Baby," for example, is perhaps the most disturbing Whitehouse piece ever. The instrumental "Execution," however, brings back the crushing sounds that Whitehouse has always been known for. "Just Like a Cunt," the absolute highlight of Quality Time, is a strong performance about sexism with great vocals by Philip Best. That and the ending "Once and for All" prove that Quality Time is one of the finest Whitehouse albums; however, it might be a bit demanding a listen, as it isn't such an in-your-face-record like a couple of previous Whitehouse albums. But still, a fine, fine album. ~ Antti J. Ravelin, All Music Guide
What The Critics Say
Here, William Bennett's industrial-strength power electronics unit is going once again over the threshold of noise in another challenging display of depravity via electronics. Few other groups have gone to such extremes in sonic punishment and general lyrical nastiness, proving once again Whitehouse should be considered far beyond the realms of the noise and industrial genres they were often lumped in with. Once again the group pushes the boundaries of acceptability in the media as we know it. ~ Martin Walters, All Music Guide
'Twice Is Not Enough'
Release Date 1/1/1992
Tracks 12
Label Susan Lawly
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What The Critics Say
This CD compiles two limited-edition albums of the U.K. power electronic group -- Twice Is Not Enough and Never Forget Death -- originally released in 1991 and 1992, respectively. Whitehouse represents a logical progression in a line of '80s industrial and noise music which began with Throbbing Gristle and Cabaret Voltaire. While those groups curbed their noise into the form of dance and electro as the '80s ensued, Whitehouse became increasingly challenging in pushing the limits of noise punishment depraved of lyrical content. To those who believe that the noise scene manifested in the Japanese underground with Merzbow and C.C.C.C., think again; what Whitehouse achieves in one ritual makes most industrial and black metal music sound delicate by comparison. ~ Martin Walters, All Music Guide
'Thank Your Lucky Stars'
Release Date 1/1/1989
Tracks 7
Label Susan Lawly
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What The Critics Say
"Extreme" doesn't begin to describe this underground cult noise band, who works with the art of the absurd to create albums of sheer torture, artful noise collage, and perverse sonic disruption matched by no other act in the noise and industrial nexus of the '80s and '90s. Thank Your Lucky Stars is one of their many exercises in depravity that pushes every limit of extremity in sound and content, which resulted in creating the genre power electronics. A study in brutality, Whitehouse once again prove themselves to be the group that sets the Richter scale on which all industrial, noise, and black metal music must be measured. ~ Martin Walters, All Music Guide
'Great White Death'
Release Date 1/1/1985
Tracks 7
Label Come Organisation
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What The Critics Say
Great White Death, the last Whitehouse effort for Come Organisation, differs greatly from some of their earlier albums. The instrumental parts of the songs are not played on such extreme levels as before; however, the vocals of William Bennett are unusually dynamic and intense. Songs such "We've Got the Power," "I'm Coming up Your Ass," and "You Don't Have to Say Please," for example, have a low bass drone on the background, while Bennett stretches his voice from quiet whispering to high-pitched feedback screaming. Some might consider this an old and exhausting example of polarization, but as is usual for Whitehouse, William Bennett has such a strong sense of dynamics that his vocals still sound fresh and honest. And even though the songs mentioned before might be the only standout tracks of the album, Great White Death is still a very strong album as a whole. Because of its nature (emphasis on vocals), it can't be recommended as an introduction to Whitehouse's music, but it sure is a treat to their old fans. ~ Antti J. Ravelin, All Music Guide
'Right to Kill'
Release Date 1/1/1983
Tracks 11
Label Come Organisation
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