Cut Hands is the brainchild of William Bennett, founder of one of the noisiest groups of all time, Whitehouse, and one of the fathers of a range of noise musics from early industrial alongside Throbbing Gristle and Cabaret Voltaire to the relentlessly tearing squeels and punches of power electronics.

Bennett himself has called the music of Cut Hands ”Afro Noise” which is a pretty accurate description. The Africa of William Bennett’s imagination is a place of great beauty and of great horrors: ritualized or institutionalized, ceremonious or oppressive, there is a power in these things which seems to find its way into the music of Cut Hands.

Given his background in the always transgressive industrial scene, there have been speculation as to whether his approach to african tribal music was somehow merely provocative, but you’ll instantly realize that Bennett truly love this music. He has recently curated the aptly named compilation Extreme Music From Africa, featuring heavy, ecstatic and often downright scary tribalistic excurtions into musical territory as forcefully physical as anything Whitehouse ever did.

There’s a primordial thump to the skewed, polyrhythmic and deeply disturbing funk of war that Bennett concocts using his expansive collection of african instruments alongside his signature electronics. Cut Hands’ music is challenging and paradoxical but also forceful, highly imaginative and thoroughly fascinating.