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Featuring a mix of dark ambient, industrial noise, and infectious rhythms from Deutsch Nepal, Cut Hands, SPK, new music from Burial Hex, Yen Pox, Tho-So-Aa, Dagda Mor, Satori, and Beyond Sensory Experience. Special thanks to Cold Spring Records for their support, go to their web store to find a number of artists featured on this show and more.
Cut Hands, A project heavily inspired by William Bennett‘s fascination for Haitian vaudou, deploying Central African percussion in radical new ways, generating an intense sound unrivalled in its physical and emotional intensity. The name was derived from the song Cut Hands Has The Solution by his original Whitehouse project. 2011 marked the Cut Hands debut release, the critically acclaimed and best-selling Afro Noise I album, since followed by Black Mamba on Blackest Ever Black in 2012, and 2013’s incredible Madwoman on Downwards. The distinctive Cut Hands art aesthetic and design is provided by vévé artist Mimsy DeBlois, whose amazing paintings feature on several Cut Hands covers and live posters.
Whitehouse, which was put on indefinite hiatus in 2008, is a nebulous and substantial subject in itself, and the below interview, a transcript of a live conversation which took place at the Unsound festival in Krakow last week, only skirts its edges. The focus instead is on Cut Hands, Bennett’s current solo project, one which combines his customary caustic electronics with a battery of African and Haitian vaudou percussion (Cut Hands’ debut album, Afro Noise Vol I, is out now). He also talks about his interest in linguistics and the unconscious, which culminated in the Tate-premiered mass hypnosis project Extralinguistic Sequencing, as well as his theory of ‘the transparent concession’, magic, method acting and his refusal to justify his art.