Editing Whitehouse (band) (section)

==Music==
Whitehouse specialized in self-described "extreme electronic music". They were known for their controversial lyrics and imagery, which portrayed sadistic sex and rape through the point of view of notorious serial killers such as [[Peter Kurten]] and [[Dennis Andrew Nilsen]]. Later works explored the psychology of eating disorders and child abuse amongst other forms of violence and [[abjection]].

Whitehouse emerged as earlier [[industrial music|industrial]] acts such as [[Throbbing Gristle]] and [[SPK (band)|SPK]] were pulling back from noise and extreme sounds and embracing relatively more conventional musical genres. In opposition to this trend, Whitehouse wanted to take these earlier groups' sounds and fascination with extreme subject matter even further; as referenced on the sleeve of their first LP, the group wished to "cut pure human states" and produce "the most extreme music ever recorded". In doing so, they drew inspiration from some earlier experimental musicians and artists such as [[Alvin Lucier]], [[Robert Ashley]], and [[Yoko Ono]] as well as writers such as [[Marquis de Sade]].

Whitehouse's early records heavily involved the use of the [[EDP Wasp]] synthesizer. The signature sonic elements included simple pulverizing electronic bass tones twinned with needling high frequencies, sometimes combined with ferocious washes of white noise, with or without vocals (usually aggressive frenzied screams alongside sinister whispers). In a 1990 interview, Bennett recalled: "I remember seeing an issue of that punk fanzine ''Sniffin' Glue'' and it said that all you needed to make music was to learn three chords, and I thought why do you even need to know three chords to make music? Why do you even need to use a guitar? The idea of thunderous extreme noises appealed to me."<ref name="ap-5-30-1990" />

Beginning on the controversial 1999 release ''[[Mummy and Daddy]]'', the band phased out the analog equipment responsible for their prior sound, instead relying more heavily on computers. From 2003 onward, they began incorporating percussive rhythms of African instruments such as the [[djembe]], both sampled and performed in-studio.