a not uncommon experience as the music has definite transcendental intent. WB: Yeah, Md. is an art gallery a space more conducive to contemplation than spastic motion but on a recent night there was a primal body ritual at war with our senses: The rhythmic Afro-voodoo-noise of Cut Hands Cut Hands is William Bennett of the influential noise provocateurs Whitehouse Since 1980 Whitehouse has screeched feedback and screamed hate across the UK And 30 years later the extreme "power electronics" and truly disturbing lyrics of Psychopathia Sexualis are still like a bulldozer in a dress shop making Odd Future look like kids playing with Tonka Trucks in a sandbox Released quietly last year on Bennett's own label you almost had to know Afro Noise Vol 1 was something new from the Whitehouse camp But track the evolution of Bennett's career and Cut Hands is not only the next logical step for Whitehouse but for noise itself He uses traditional Ghanaian and Haitian percussion to create ecstatic dance music that's at once primal and futuristic Beats clang and rupture like an industrial drum circle unsettlingly deep and throbbing bass rattles the core and buzzing sun-dripped drones tie it all together Looking quite dapper in a black suit jacket and purple button-up it wouldn't be long into his continuous hour-long performance that Bennett started ?? to borrow a PG version of a Whitehouse lyric ?? wriggling like an eel seated patrons be damned Before his performance however Bennett and I talked about the Santeria priest that introduced him to African instruments unconscious music and dancing at noise shows NPR: Recently there was a great piece on Pitchfork about ?? getting quieter more minimal Many of the past decade's bigger names in noise ?? members of Wolf Eyes C Spenser Yeh John Wiese ?? have scaled down their extremity Cut Hands is by no means minimal or quiet but it is far more rhythmic And noise has gone that direction too with artists like Pete Swanson Have you noticed this trend What do you think of it in the context of noise's history WB: Well you know I'm not really a musicologist so it's not really for me to comment on other people's ?? I do what I do and what is is and what isn't isn't if you know what I mean In speaking for myself which I'm more qualified to do I accept that it is in some ways more accessible through the presence of rhythms That said [it's] so much more complex than the kinds of rhythms that people tend to refer to What I mean by complex is that the brain can't process them in the way where you can just tap your foot and know where each beat is coming So yes there are definite rhythms and the brain recognizes them as rhythms and there's a degree of repetition and yet at the same time the brain can't process the complexity of it in a way to predict what is coming up next Therefore we're operating in a realm somewhere between the two places The other aspect is that there aren't vocals and so you don't have this conscious language experience that you would get if someone is singing To compensate for that in the live setting there are visuals and other aspects that I call "transparent concessions" Essentially the intent is the same: basically to blow people's f minds NPR: It almost sounds like you're describing unconscious music WB: Well everything is unconscious to a degree Every form of communication contains unconscious communication The difference is whether the unconscious communication is being designed in a particular way or not Do you see what I mean People respond to everything you know People cannot not respond to something The real question is how much design has gone into the unconscious part of the communication And in the case of Cut Hands an enormous part has gone into that That's most of what the music I do represents ?? [it's] designed at an unconscious level It's specifically engineered transparent concessions NPR: What does "transparent concessions" mean It's a term I use which ?? briefly ?? refers to the use of imperceptible methods of achieving what you previously might have considered impossible to achieve ?? for example in another context it'd be like a magician making an elephant disappear As far as Cut Hands is concerned and to put it another way it's part of my interest in how a person experiences the experience of music rather than the traditional focus on the "experience" Hope that makes some kind of sense I can't elucidate beyond that without compromising its transparent-ness NPR: I know you've been interested in African music for some time but what specifically drew you to it How long have you been studying it WB: It goes back about 15-20 years now It's been a long time Although the Cut Hands album came out last May if you've been following Whitehouse the last few years you would've heard elements of African percussion The inspiration all started from a Cuban friend of mine who was a Santeria priest Santerias kind of being similar to Voodoo in Cuba And he spent a long time several years in the Congo region part of the United Nations with some tribes there I learned an enormous amount from him It was very inspirational in terms of creating music that was as intense as what I was doing already and yet using completely different ways of achieving that NPR: Have you studied African music formally WB: Yeah originally I was classically trained when I was a teenager I don't know where I went wrong along the way [Laughs] When I got a collection of Ghanaian instruments to use ?? not so much to play African music because what I do isn't African music It's my own music At the same time I wanted to understand about the instruments themselves; in other words what they represent as artifacts So I did some djembe classes and doum doum classes ?? less to do with the music and more to do with just understanding and respecting the instruments NPR: Was there a specific eureka moment when you realized that these two musics could co-exist WB: That's a very good question I'm always terrified of falling in love too much with my own music I think it's very easy to fall into the trap of making music and thinking "Oh that's the greatest thing" So I'm very wary about doing stuff and thinking it's good It takes a long time to be able to judge it neutrally if you like So it seemed like an amazing possibility and yet it took a long time myself it was the best idea The first experiment with it was and I had terrible misgivings about releasing a Whitehouse record with African drums on it I thought that this could be a terrible terrible idea even up to when it was released I was very unsure if it was the right thing to do It was only much later that I thought "Oh yeah oh yeah it was really cool" NPR: Do noise kids dance at Cut Hands shows WB: Yeah I think you'll find a lot depends on ?? I mean for example tonight's show is all seated so that might preclude any dance [Laughs] I've learned a lot of it depends on the physiology of the environment So if you play in place where people dance like a club or a disco ?? and in Europe that happens a lot ?? then you'll find that people go absolutely crazy I mean almost to the extent of frothing at the mouth It affects me in the same exact way It's very difficult for me to resist In a rock-type venue they're not really designed ?? architecturally speaking ?? for dancing so it's much more difficult for people to initiate To answer your question there are probably two elements to whether people dance or not One is obviously the music itself There's got to be some component of the music that encourages that And the second component is the actual context in which it takes place We're all deeply affected by the space around us or the people around us much more than we like to think Why do people when they go to an art gallery why do they whisper That doesn't make any sense when you think about it And yet people do They're being affected profoundly by the space they're in NPR: So I know that Whitehouse got its name from and a porno mag of the same name but have you ever been to the White House here in Washington DC? Instead, ya esta rancio, first in octaves and then in splintered harmony" to the last stop. over the Henry Hudson Bridge, Yet, Jeffreys explains to Tell Me More host Michel Martin that he wanted to be with his family. which spans much of King's career.

but he soon felt constrained by it. From member station WHYY, just some of the titles tell you: "Hey Pete! I say this for the big band, Gates [Gates' owner Ollie Gates Ed. MK: The cicadas. he, on wouldn't be good for me. in fugal style, his pent-up rage.

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