CUT HANDS
Rarities I EP
Boomkat Product Review:
William Bennett casts six previously unheard Cut Hands spells in the Rarities EP for his Susan Lawly label/grimoir.
Arriving four years since the project’s Afro Noise | (Volume 4) LP, and with only a handful of remixes issued over the interim, here he is again complicating matters for those listeners who’d like it all neatly cut and dry.
Locating compilation tracks along with entirely unreleased material, including alternate versions of older releases, the set reminds us the vital force of Bennett’s music, both in terms of aesthetics and production values and historic research, which stands in ever starker relief against a modern scene swamped with mutually self-referential onanists.
The electrifying tattoo of Festival Of The Dead Ondo from BEB’s I Can’t Give You The Life You Want compilation forms big highlight, as does the hi-intensity barrage of Damballah 58 (Benin Mix) for the drum freaks, whilst the tense synth arrangement of Protoaxic Distortion and Secret Of Elegua connote more cinematic and elemental sensations that hearken back to the unique style of white-hot high-register dissonance he pioneered in Whitehouse.
He’s still got it, like.
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Boomkat Product Review:
William Bennett casts six previously unheard Cut Hands spells in the Rarities EP for his Susan Lawly label/grimoir.
Arriving four years since the project’s Afro Noise | (Volume 4) LP, and with only a handful of remixes issued over the interim, here he is again complicating matters for those listeners who’d like it all neatly cut and dry.
Locating compilation tracks along with entirely unreleased material, including alternate versions of older releases, the set reminds us the vital force of Bennett’s music, both in terms of aesthetics and production values and historic research, which stands in ever starker relief against a modern scene swamped with mutually self-referential onanists.
The electrifying tattoo of Festival Of The Dead Ondo from BEB’s I Can’t Give You The Life You Want compilation forms big highlight, as does the hi-intensity barrage of Damballah 58 (Benin Mix) for the drum freaks, whilst the tense synth arrangement of Protoaxic Distortion and Secret Of Elegua connote more cinematic and elemental sensations that hearken back to the unique style of white-hot high-register dissonance he pioneered in Whitehouse.
He’s still got it, like.
Boomkat Product Review:
William Bennett casts six previously unheard Cut Hands spells in the Rarities EP for his Susan Lawly label/grimoir.
Arriving four years since the project’s Afro Noise | (Volume 4) LP, and with only a handful of remixes issued over the interim, here he is again complicating matters for those listeners who’d like it all neatly cut and dry.
Locating compilation tracks along with entirely unreleased material, including alternate versions of older releases, the set reminds us the vital force of Bennett’s music, both in terms of aesthetics and production values and historic research, which stands in ever starker relief against a modern scene swamped with mutually self-referential onanists.
The electrifying tattoo of Festival Of The Dead Ondo from BEB’s I Can’t Give You The Life You Want compilation forms big highlight, as does the hi-intensity barrage of Damballah 58 (Benin Mix) for the drum freaks, whilst the tense synth arrangement of Protoaxic Distortion and Secret Of Elegua connote more cinematic and elemental sensations that hearken back to the unique style of white-hot high-register dissonance he pioneered in Whitehouse.
He’s still got it, like.
Boomkat Product Review:
William Bennett casts six previously unheard Cut Hands spells in the Rarities EP for his Susan Lawly label/grimoir.
Arriving four years since the project’s Afro Noise | (Volume 4) LP, and with only a handful of remixes issued over the interim, here he is again complicating matters for those listeners who’d like it all neatly cut and dry.
Locating compilation tracks along with entirely unreleased material, including alternate versions of older releases, the set reminds us the vital force of Bennett’s music, both in terms of aesthetics and production values and historic research, which stands in ever starker relief against a modern scene swamped with mutually self-referential onanists.
The electrifying tattoo of Festival Of The Dead Ondo from BEB’s I Can’t Give You The Life You Want compilation forms big highlight, as does the hi-intensity barrage of Damballah 58 (Benin Mix) for the drum freaks, whilst the tense synth arrangement of Protoaxic Distortion and Secret Of Elegua connote more cinematic and elemental sensations that hearken back to the unique style of white-hot high-register dissonance he pioneered in Whitehouse.
He’s still got it, like.
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