The ambitious Whitehouse Vinyl Collection Series has produced high quality vinyl reissues of much of Whitehouse's catalog going back to their earliest releases; unfortunately, these reissues are already becoming hard to come by, some of the titles having already gone out of print, with others available in very limited quantities. We did manage to get some of these Lps in stock though, and with much of the Susan Lawly catalog now out of print, this is the only way to get some of these albums in physical form.

Probably the most notorious band to come out of the British post-industrial underground of the 1980s, Whitehouse has released a formidable catalog of recordings over the past three decades which has had a profound influence on the field of extreme electronic music, including pioneering the whole "power electronics" sound, a term coined by the leader of Whitehouse himself, William Bennett.

The hateful 1995 album Quality Time is a brutal listening experience, mixing bone-rattling bass heavy electronics and sonic acupuncture via controlled feedback into some of the heaviest tracks in the group's career. This was Whitehouse�s fourteenth album, and was recorded right in the middle of their run through the 90s with Steve Albini behind the board. This era of Whitehouse produced some of their most layered and textural work, an advancement beyond the simple (yet still murderously effective) feedback abuse of their early Lps. Opener "Told" drapes a delicate filigree of high-end feedback across a smoldering magma-flow of rumbling, throbbing low-end distortion, right before Bennett begins his excoriating ranting and screeching, unleashing a litany of accusations and demands for sexual domination, leading right into the sputtering horror of the title track. On this, thick crackles and glitches seethe under more of that omnipresent feedback agony. Then there's "Baby", which is one of the most disturbing pieces I have ever heard from Whitehouse; a subsonic bass presence lurking beneath a recording of what sounds like different manipulated recordings of children laughing and squealing in a bathtub, which slowly transforms into the gurgling, gasping sounds of a drowning. The feedback/distortion holocaust "Execution" opens the second side in classic Whitehouse fashion, with crushing low-end bass-grind, shrill high frequency feedback that drills straight through your eye sockets, and buried percussive sounds that are all but obliterated by the rushing speaker abuse. The Philip Best fronted "Just Like A Cunt" is over-the-top and bordering on maniacal, a ferocious outpouring of misogynistic bile, and closer "Once And For All" is as savage a feedback assault as you will ever hear from these guys. At times absurdly extreme and confrontational, this album still sears flesh. As with most of their 90s output, this also features beautiful album art by Trevor Brown.