Album Review: The Sounds Of Sadism by Whitehouse
Whitehouse’s The Sounds Of Sadism isn’t your typical electronic album—it’s a raw, unfiltered punch to the gut that dives deep into the murky waters of noise and power electronics. Released in 1989 on Remote Control Records outta Germany, this record doesn’t just push boundaries; it obliterates them. With credits featuring heavyweights like William Bennett, Kevin Tomkins, Peter Sotos, and a remix from Pyrolator, you know you’re stepping into something brutal and unforgettable.
First up—let’s talk about “Right To Kill.” This track is an absolute monster. It slams you with layers of distorted soundscapes and vocals so visceral they feel like a direct confrontation. What sticks with me? The way it builds tension without ever letting go. You’re left hanging there, caught between discomfort and awe. It’s not background music—it demands your full attention, almost daring you to turn it off. Spoiler alert: I didn’t.
Then there’s “My Cock’s On Fire,” which, yeah, sounds exactly as unhinged as its title suggests. It’s abrasive, chaotic, but somehow hypnotic too. There’s a twisted groove buried under all the noise that keeps pulling you back for more. If sadistic genius had a soundtrack, this would be it.
What makes The Sounds Of Sadism stand out—even within the niche world of power electronics—is how deliberate every screech, beat, and lyric feels. Nothing here seems accidental. William Bennett and co. crafted these tracks with precision, knowing damn well they’d polarize listeners. And honestly? That’s what makes it brilliant.
Reflecting on this album now, decades later, it still hits hard—not just because of its shock value but because it forces us to confront things we usually avoid. Sure, some might call it pretentious or over-the-top, but art like this doesn’t aim to please everyone. Weird thought though: if this album were a person, it’d probably scare the hell outta most people at parties—but also leave ‘em talking for weeks.
