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Cut Hands is a tribal noise project from Edinburgh, Scotland, formed in 2008 by William Bennett, the guiding force behind the recently rested Whitehouse.

Bennett will always be known first and foremost for the scummy, excoriating power electronics sound that has been Whitehouse's bread and butter since the late 1970s, but he's always explored his own highly idiosyncratic path through music. Cut Hands finds Bennett…

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  • " But intent should never be our marker of achievement. The question should not be “what did the author mean to do?” but rather, “what does this work actually mean in the real world, and what are its implications?” " What a crock
  • one of these days I hope I write something acclaimed enough for some kid with a blog to call problematic
  • Xhi
  • no wonder that guy couldn't get his article published anywhere.
  • "this is a prime example on how music journalism should look like. " Like a freshman sociology paper?
  • "this is a prime example on how music journalism should look like." Like a college campus newspaper article?
  • https://www.youtube.com/watch?v=fJ0m4RSVnoA
  • I like the Josh Hall essay thing - although it doesn't really address anything that hasn't already been discussed (at length) in the whole William Bennett / Power Electronics thing. No mention either of the execrable Peter Sotos - one-time Whitehouse member and Ian Brady fan - a rather over-literal interpretation of William Blake's 'Sooner murder an infant in its cradle than nurse unacted desires'. I like the Cut Hands project and some of the later Whitehouse CDs - it seems good at least that he's turned away from the extremity-for-extremity's sake angle. I suppose that if you think that the appropriation of Haitian Vodoun rhythms is dodgy, you'd have to ask yourself - is Alan Lomax, The Sun City Girls or even the good folks over at Soul Jazz any less dodgy?

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