Since 1980, William Bennett has been the leading figure of Whitehouse, a seminal “power electronics” band. Bennett initiated this new musical genre by building on the remains of the industrial music scene. He also drew his inspiration from other experimental electronic music artists from the past decades - such as Alvin Lucier, Wendy Carlos or Yoko Ono - as well as from extra-musical elements - such as Sade’s writings or his obsession for Linda Lovelace, the main actress in Deep Throat. With their 17 albums - in which are found several remarkable participants like Philip Best, a virtuoso electronic musician (Consumer Electronics, Ramleh, Skullflower), Peter Sotos (an American writer, author of Index, editor of Pure), or Stefan Jaworzyn - WH has developed an implacable music, which mixes extreme frequencies with openly provocative and amoral vocal discharges. Their chaotic and hilarious Live Actions enabled the band to forge themselves a most uncommon reputation.

Can you tell us where the term “power electronics” comes from ? Are you satisfied with it or do you think your music should rather be described as extreme or avant-garde electronic music ?

I coined the term myself loosely in some blurb describing one of our early albums, not trying to create a new genre-specific name. I don’t consider it my job to write about and ascribe terms and genre titles. I leave that for others to communicate to readers or listeners. My focus is creating the most uniquely extraordinary music that I can.

What were you aiming at when you started Whitehouse back in 1980 ? Who influenced you in the early stages ?

I had some ideas and hallucinations of what I wanted, of what music could really sound like, which contrasted with what I was hearing at the time. You know when you see something that you have to have, something you won’t stop thinking about until you get it ? That was how it started. I may have quoted some early industrial bands as an influence twenty five years ago I guess, I don’t recall - and yes, there were influences to the extent of focusing one more clearly on how electronic music could potentially sound unlike what was being peddled at the time.

How do you succeed in keeping your music as extreme as it used to be twenty years ago ?

All I know is that, like in a large oyster, there is still an extremely irritating grain of sand inside helping the pearl continue to grow. And while that grain of sand is still there, the music will continue to flourish in the right way.

What are the stages you go through when creating your sonic works ?

It’s a very long obsessive process that lasts usually 2-3 years of collating what I term “details”, acquired from virtually any source imaginable. Everything is finally sculpted directly from my mind into the final product, directed by myself to my collaborators in what I consider the most efficient and effective way.

What is your method for recording ?

I’ve always been of the belief that results are what count. I’m only interested in results - is the final artwork in its most powerful and effective manifestation possible ? How those results are achieved is of little importance to me. So, in the debate between analogue and digital, PC and Mac, acoustic or electronic and so on, I will always abstain even though I know there are those that delight in arguing the toss - me, I couldn’t care less on the methodology. What really interests me is what works, what creates the desired or imagined effect. So that’s where the motivation comes from. And intensely passionate music can be created from literally anything. Witness the musicians in Haiti : with a hammer and a bare handful of stones the most mind-shatteringly intense music is achieved.

WH’s Live Actions have become legendary, they can be considered as messianic rituals. What makes a Live Action a good one ?

I can’t stand any GG Allin-type audience fights or missile-throwing, and thankfully that hasn’t been the case now for a long time. I really don’t want audiences to have preconceived expectations about us in a live context. When that happens, audiences will begin to control and decide your own actions to an unacceptable degree. But yes, that’s right, there is an unusual sense of (non-religious) spirituality to the concerts, and they will be totally life-changing to many of the unwary. This is a powerful by-product of our approach rather than a deliberate didactical or proselytising mission. It’s fascinating to see that.

Some people consider WH as being more like performance art than simply music. Do you perceive WH as a kind of metamusical experience ?

As with all meaningful responses, I would notice that this music is highly revelatory on a personal level, which is one of the reasons it transcends its own art form. Nevertheless, on a purely musical level, I believe it continues to be incredibly cutting edge and constantly stretching the boundaries of what touches people most. And our new works often take a very long time to be accepted or understood on any level, even by fans.

Do you think your work is condemned to remain underground ?

Condemned ? Is the underground like a prison ! ? Seriously though, we’ve already transcended these kinds of barriers in the last couple of years, with some very high-profile appearances both in print, radio and live contexts. I really purely focus on artistic expression and while I’m always fascinated with responses, it’s never a guide.

How do you manage to keep a structure like Susan Lawly - your own record label - independent ? What is your point of view on the music industry in general ?

Having been disenfranchised from the establishment music industry for so long now, it’s nice to be outside the pressures that affect even most so-called “independent” labels. We really do have the luxury of releasing what we want, when we want, and however we want ; not in a self-indulgent sense but one that is controlled by pure artistic and not commercial judgments.

Could you please explain to us what is the philosophy behind the Extreme Music from... series which is released on Susan Lawly ?

I’m not sure there’s a specific philosophy other than one of exposure of many neglected musical treasuries. The music industry in the West can be so USA and UK/Euro-centric, it’s at times depressing.

Where do you see pockets of resistance in today’s art world ?

Rather than in terms of a battle metaphor, I see its resistance as that of a demure sexual partner. You know when you have to be pushed into doing something you’re not sure about but you know you’ll really enjoy it afterwards.

You once said you wanted to put your audience in a submissive state. Are you interested in the influence of music on the human psyche and in scientific psychoacoustic works ?

Not in an academic sense, but always on the level of personal emotional experiences and responses and expression.

What is your vision for the future of music ?

Savage, grandiloquent and wild beyond the imagination of all but the most ravaged decadent minds.