Cut Hands, Cut Hands (Very Friendly, 2012)—
William Bennett was the prime mover of Whitehouse, perhaps the most relentless, monolithic and migraine-inducing of the first-generation power-electronics pioneers. . . Now he returns with something nearly as grand, violent and elemental, but more subtle and (yes) listenable. . . Painstakingly researched African percussion patterns, played for impact NOT dilettante exotica, and threaded through with spasms, twists and crescendos of beautifully sculpted noise. . . Try 3, 12.