Review Summary: A return to form for the Powerhouse of Power Electronics.
It was pretty obvious that as Whitehouse's career continued, the Noise movement's need for change was imminent as well.
Buchenwald was good, not great, and
Peter Kurten was an unfortunate misstep. Nevertheless, that never stopped good ole Bennett, and he road the Noise train straight into
New Britain.
Right off the bat it is clear that William is trying to capture the fire of Birthdeath Experience.
Movement 1982 uses a heavy static along with screeching feedback to create this bubbling noise like boiling water, or boiling intestines, whichever one you prefer. I particularly like this track because of how he merges his instruments together in this elongated track of endless curdling noise. It is a great start to an album, especially when he goes straight into
Roman Strength, which busts out the microphone feedback and blood evaporating screaming reminiscent of his
Birthdeath Experience album. He continues this trend in
Will to Power but adds some nutty static into the mix; slowly over the course of the album William will add a new instrument, escalating the madness for every track.
New Britain gets even crazier, as William Bennett's screaming is turned up to the max and the static becomes louder. Suddenly we are bombarded with a range of instruments all trying to make a name for themselves and we are left helpless in William's stampede of insanity.
Ravensbruck goes straight back to the static filled intensity of
Movement 1982, but quickly evolves into screeching feedback and William's screaming. One thing I enjoy about this album is how well put together it is. It should be noted that there are three credited producers for this album: William Bennett, Peter McKay, and Dave Kenny, which is probably an explanation for its refinement as an album.
I made a hefty criticism against
Dedicated to Peter Kurten because of the lack of long tracks that made most of the tracks feel unfinished. I am proud to see that is not the case here, as
Kriegsklarung is one of the finer examples of a well-mixed, well defined, noise track. Utilizing a small squeal from feedback, and a whistling howl that goes in and out for the duration of the track, we are given probably one of the most creepy tracks on the entire album. My only criticism has to be in the track
Viking Section, which uses the feedbacking sound again. My issue is that the track has some of the most innovating whistle noises and synth screeching, but dilutes it through the use of the feedback again. Meanwhile a bubbling synth plays in the background for some of the best sound on this album. Finally we reach
Active Force, which uses a heavy beat along with a synth screech and the water sound effects, again. The water sound effects were good in
Peter Kurten but now it is just getting ridiculous.
New Britain was a heavy return to form for Whitehouse, ditching the tired tools he abused in
Dedicated to Peter Kurten and
Buchenwald, William brings out his creative insanity, and the result is just as satisfying.
