{"id":193520,"date":"2018-01-05T09:08:18","date_gmt":"2018-01-05T09:08:18","guid":{"rendered":"https:\/\/siteproxy.ruqli.workers.dev:443\/http\/recordcollectormag.com\/articles\/beyond-limits"},"modified":"2020-05-21T10:29:17","modified_gmt":"2020-05-21T10:29:17","slug":"beyond-limits","status":"publish","type":"post","link":"https:\/\/siteproxy.ruqli.workers.dev:443\/https\/recordcollectormag.com\/articles\/beyond-limits","title":{"rendered":"BEYOND LIMITS"},"content":{"rendered":"

<\/b>T<\/span><\/strong>he Come Organisation story is inseparably linked to that of William Bennett. The Sex Pistols\u2019 Anarchy In The UK 45 made the 17-year-old Bennett board the train from Edinburgh to London, the epicentre of UK punk, in early \u201978. With little money, no return ticket and nowhere to go, he slept rough in parks before finding himself hired as tour guitarist for former-X Ray Spex saxophonist Lora Logic\u2019s band Essential Logic, who had been booked to play the Rough Trade Tour 1979 <\/i>with Stiff Little Fingers and The Normal. By then punk had lost much of its anti-establishment attitude and shock value, both considered essential by Bennett. A fan of industrial bands such as Throbbing Gristle and Cabaret Voltaire, Bennett found their music and performance initially interesting but by 1979, much like punk, felt they lacked their original aggression and force, intensity and relevance. Something new was needed, something far more radical than punk or industrial music. To quote a later interview with Bennett: \u201cI was fascinated by creating a sound that would bludgeon an entire audience into submission.\u201d <\/b><\/p>\n

COME TO RAMPTON <\/b><\/p>\n

With Essential Logic deemed an unsuitable vehicle for for serious bludgeoning, Bennett left the band after the Rough Trade tour, forming Come with former The Normal member and future Mute label boss Daniel Miller (\u2018Dr Death\u2019) and IPS studio engineer Peter McGhee (\u2018Peter McKay\u2019). Miller selling Bennett his WASP synthesizer cemented both Come\u2019s and Whitehouse\u2019s trademark sound. Come recorded their debut single, Come Sunday, at London\u2019s IPS studios. The recording had been rewarding but finding a label willing to release it proved less so. The violent mix of stark synthesizer sequences, austere guitar riffing and echoed vocals was simply too outlandish for a commercial release.<\/p>\n

Inspired by successful independent labels such as Industrial (Throbbing Gristle) and Ralph (The Residents), Bennett decided to start his own: Come Organisation. The label\u2019s name had been inspired by porn publishing house Private Organisation, publisher of the Whitehouse <\/i>adult magazine, which would soon become the name of Bennett\u2019s most notorious musical venture. And so in September \u201979 the first Come Organisation release \u2013 the single Come Sunday\/Shaved Slits \u2013 saw the light of day. Essential Logic\u2019s record label Virgin, curious about Bennett\u2019s goings-on, hated it. Siouxsie & The Banshees, however, loved it, prompting Siouxsie to invite Bennett to replace the Banshees\u2019 original guitarist. Bennett, not comfortable with the then-shift in sound of the Banshees, declined the offer. On the back of the then thriving independent music scene, Come Sunday\u2019s 900 copies sold out quickly, raising enough readies to release Come\u2019s debut, Rampton<\/i>.<\/p>\n

Rampton Secure Hospital was, and still is, a high-security psychiatric hospital for patients with severe mental disorders. In 1979 a TV documentary shocked the nation, revealing the routinely severe mistreatment of Rampton patients by staff members. The Rampton <\/i>album was intended, successfully, as the bleak soundtrack to the sadistic horrors of the hospital. Even though Rampton <\/i>was released in summer 1980 in a wrap-around sleeve featuring Throbbing Gristle\u2019s Cosey Fanni Tutti in bondage, plus an insert either stuck on the back or inside the sleeve, though homemade variations sported a plain black or white sleeve with the insert stuck to the front or with a small title sticker. The album had already appeared late in 1979 on cassette, which is now extremely desirable. Musically, Rampton <\/i>remains one of the label\u2019s finest releases: bizarre and bleak, yet also mesmerising, beautiful and intriguing.<\/p>\n

Come returned to the studio to record their second album, In Country, <\/i>but the results didn\u2019t meet the band\u2019s expectations. As Come Organisation\u2019s finances didn\u2019t allow the release of more than one album and everyone was getting very excited about the imminent release of the first Whitehouse album, In Country <\/i>(originally intended to be a double-album) was shelved. Come did release a second album when Bennett recorded the ultra-downbeat I\u2019m Jack <\/i>with Jim Thirlwell of Foetus. Pressed on coloured vinyl \u2013 another fine Come Organisation tradition \u2013 the two side-long tracks feature detuned bass guitar, percussion, feedback and occasional radio interference, making it, according to Bennett, \u201cone of the most depressing albums ever\u201d. He\u2019s right.<\/p>\n

WHITEHOUSE ARE COMING TO GET YOU! <\/b><\/p>\n

With Daniel Miller increasingly involved at Mute and reeling from the disappointment surrounding the In Country <\/i>sessions, Bennett decided to start a new band that would go \u201call the way\u201d: Whitehouse. Named after Mary Whitehouse, the English morality campaigner and the British adult magazine of the same name, the aim was to expose taboos without context, forcing the listener to form his\/her own opinion about these subjects. Musically, Whitehouse would be all WASP-synthesizers, feedback, deliberately over-the-top lyrics and sheer volume. With personnel and equipment in place, Whitehouse enthusiastically embarked on their journey of \u201cbludgeoning audiences into submission\u201d. Their first album, Total Sex<\/i>, released in November 1980, proved a perfect calling card: the throbbing electronics, sub-bass pulses, feedback, almost incomprehensible vocals and a two-minute silent track called Politics left buyers confused. Was this band to be taken seriously?<\/p>\n

Via newsletters and sporadic interviews, Whitehouse responded they were merely filling a void in music, presenting what other bands only dared to hint at. Bennett identified himself as a libertine, referring to the Marquis de Sade, the French writer\/ philosopher\/revolutionary who was the ultimate libertine; a person devoid of sexual restraints and who shunned the morals sanctified by wider society. Whitehouse quoted from De Sade\u2019s classic 1785 novel The 120 Days Of Sodom <\/i>on the sleeve of Total Sex<\/i>, which swiftly prompted a ban by distributors. To overcome further problems getting it in shops, the sleeve had to be replaced by the legally less compromising, but no less shocking \u201cMummy\u201d version, featuring the face of a mummified corpse. There were other problems, such as finding a pressing plant willing to produce the albums and a printing company happy to handle the more explicit sleeves. Finding a printing company willing to print an image of an erect penis under a spotlight for Whitehouse\u2019s 1981 Erector <\/i>album, proved equally challenging.<\/p>\n

Most of the Come Organisation albums were pressed in runs of 500 to 1,000 copies. The ever-growing market for their releases in England, which was expanding to Germany, the US and Japan, ensured initial pressings often sold out on release, funding the next album and ensuring continuous output. Despite contemporary re-pressings, some in different sleeves and\/or on coloured vinyl, all original Come Organisation editions remain highly collectable.<\/p>\n

Over the years Steve Stapleton (Nurse With Wound), Kevin Tomkins (Sutcliffe Jugend), Glenn Michael Wallis (Konstruktivits), John Murphy (who also worked with SPK, NON and Current 93), Andrew McKenzie (The Hafler Trio) and Philip Best (who ran away from home aged 14 to attend his first Whitehouse performance) were all part of the Whitehouse line-up. Between 1982-85, they played just fewer than 50 live shows, all brief and at a painfully loud volume. In the UK, venues willing to host them were few and far between, sometimes resulting in Whitehouse being booked under a fake name and playing fake The Human League-like soundchecks. Even though Whitehouse performances often took place in a tense atmosphere, partly owing to pre-show video showings of Texas Chainsaw Massacre <\/i>and\/or Luis Bu\u00f1uel\u2019s Un Chien Andalou<\/i>, actual violence seldom erupted.<\/p>\n

Opening Pandora\u2019s Box, Whitehouse inspired others to expose the ugliness of the world on their own terms. On their 1982 album Psychopathia Sexualis<\/i>, Whitehouse introduced the term \u201cpower electronics\u201d to describe their sound. Nowadays it\u2019s the accepted sub-genre name for deeply atonal, non-melodic music that features noise, feedback, sub-bass pulses, high-frequency squealing and screeching vocals. However, Whitehouse spawned a host of rather unimaginative sons and daughters, so approach power electronics with an open mind and some caution. Bennett, referring to first-generation noise artists such as Throbbing Gristle and Cabaret Voltaire, often described Whitehouse as \u201cthe second coming\u201d. And, he claimed, \u201cThe second coming is always the best.\u201d<\/p>\n

OTHER PROJECTS FROM COME ORGANISATION<\/b><\/p>\n

While many releases on Come Organisation are by Come and Whitehouse, other projects found a home as well: in 1981 Milanese \u201cde-composer\u201d Maurizio Bianchi submitted some of his material to the label. His brooding ambient-industrial demo tapes combined with Bianchi\u2019s obsession with the dark side of human nature enticed Come Organisation to draft a prank record contract in which Bianchi not only signed over his music to Come Organisation for life, but also gave the label total artistic control. Much to their surprise, Bianchi returned the contract signed! This resulted in Bianchi\u2019s two albums on Come Organisation being released under the moniker Leibstandarte SSMB rather than his own name. Worth noting is that the intriguing cassette-only album Examples Of Cannibalism <\/i>features Bianchi\u2019s music, albeit uncredited.<\/p>\n

Another project, 150 Murderous Passions, was a collaboration featuring Steve Stapleton, William Bennett and Peter McGhee. Their sole album, famously recorded on Guy Fawkes\u2019 night in 1980, was released in March 1981 on both Come Organisation (with the artist listed as 150 Murderous Passions) and Stapleton\u2019s United Diaries (as Whitehouse\/Nurse With Wound) and boasts a fascinating mix of tapesd and found sounds, noise, a scattering of instruments, and studio techniques.<\/p>\n

The album\u2019s title \u2013 surely among the most elaborate names for an album ever and too long to print here \u2013 quotes from Comte de Lautr\u00e9amont\u2019s landmark 19th century novel Les Chants De Maldoror<\/i>.<\/p>\n

One of the most outlandish and intriguing records in Come Organisation\u2019s catalogue is Bradford Red Light District<\/i>. Recorded by Bennett, McGhee and Stapleton under the name, The New Order. The album features a sidelong field recording of a walk through what was supposedly Bradford\u2019s notorious red light district. Describing it as \u201can area of unique atmosphere\u201d in the sleeve notes, the recording makes for a remarkable listening experience. Its second side features a downbeat yet beautiful reverberated soundscape intertwined with a spontaneous radio broadcast.<\/p>\n

Come Organisation also released The Second Coming<\/i>, a compilation featuring Nurse With Wound, Come, The Sodality and Whitehouse. The curiously assembled yet fascinating F\u00fcr Ilse Koch <\/i>combined music by Come, Nurse With Wound, Maurizio Bianchi, Club Moral (listed as Wiking DDV) and Etat Brut, with readings by Aleister Crowley plus Japanese Imperial Army marching music. Pressed on both black and red vinyl (with an announced blue vinyl pressing remaining unreleased), the album was bootlegged in Japan in a numbered edition of 300 copies.<\/p>\n

In 1982, Kevin Tomkins and Philip Best formed Sutcliffe Jugend and released two cassette-only albums (Campaign <\/i>and We Spit On Their Graves<\/i>) on Come Organisation. Over the years, Come Organisation also released a bewildering range of cassette-only albums featuring Whitehouse live shows, documentaries, the soundtrack to Leni Riefenstahl\u2019s notorious Nazi propaganda film Triumph Des Willens<\/i>, Charles Manson\u2019s Lie<\/i>, as well as interviews and marching music.<\/p>\n

COLLECTING COME ORGANISATION <\/b><\/p>\n

During its brief history, Come Organisation released some of the most collectable extreme electronic music ever made. However, collectors should be wary. Its releases come in a confusing array of sleeve and label variations, influencing prices.<\/p>\n

Most common is the generic \u201cPeter K\u00fcrten\u201d sleeve, used for various albums, featuring a portrait of early 20th century German serial killer Peter K\u00fcrten on the front, often complemented with a typewritten title sticker in the right upper corner. The reverse of the K\u00fcrten sleeve features a list of Come Organisation releases and a small sticker indicating which you were the lucky owner of! There are also variations featuring a Come Organisation address or a blank rear sleeve. Sometimes a A3 photocopy served as a wrap-around image over a blank white or black sleeves.<\/p>\n

The actual labels themselves often feature the K\u00fcrten image and the label\u2019s name or a Spanish-titled side indicator \u201cCara A\u201d or \u201cB\u201d or specially designed labels. Tucked inside most covers lurk a selection of inserts, including copies of KATA, Come Organisation\u2019s mail-order catalogue offering VHS tapes, posters, shirts and badges. That said, some releases have no inserts.<\/p>\n

The records are pressed in various colours, often gorgeous translucent red, but also orange or, very rarely, blue, violet or green. There is a confirmed blue pressing of The Second Coming, <\/i>of which only 25 copies are thought to be in existence. A violet-coloured pressing is rumoured, but I have never even seen a picture of it. Finding a copy of Psychopathia Sexualis <\/i>on clear vinyl is difficult enough, but finding a violet one is near-impossible, if you did you can expect it to be worth at least \u00a3300.<\/p>\n

Be wary of vinyl bootlegs too, several titles were pressed in Germany without Come Organisation\u2019s consent. Luckily, these are relatively easy to identify as they feature blurred Peter K\u00fcrten front sleeves, a Whitehouse portrait on the reverse and have a computer-printed sticker in the upper right corner. As these boots were mastered from vinyl copies, they sound quite poor compared to the originals. These bootlegs are sometimes touted as originals, so check before you buy.<\/p>\n

Several Whitehouse live performances dubbed from Come Organisation cassettes also crept onto bootleg vinyl. Again, care is required. Given that many Come Organisation titles were only made available on cassette in small runs, mostly produced on demand, they are very collectable too. However, there are also fake Come Organisation cassettes out there. Originals can be discerned by a cover photocopied on white (sometimes blue or orange-coloured), thicker, often slightly glossy card, featuring hand-typed or handwritten titles and\/or catalogue numbers. They mostly utilised Sony CHF 60 cassettes, though occasionally other contemporary Sony tapes were used. Some titles feature the standard Peter K\u00fcrten design whereas others have a unique cover. And to make it even more fun, some titles are available in more than one sleeve variation. This can be confusing, but checking if the cartoon of the cover has faded with age and asking for provenance can help determine whether you\u2019re dealing with the real thing.<\/p>\n

The most desirable Come Organisation releases are 150 Murderous Passions<\/i>, F\u00fcr Ilse Koch<\/i>, Right To Kill <\/i>and Psychopathia Sexualis<\/i>, and the ultra-limited coloured editions on blue, green and violet vinyl all sell for well over \u00a3200 each. Come cassettes usually sell at around \u00a380-100, but can easily attract considerably more \u2013 a copy of Sutcliffe Jugend\u2019s 10-tape set We Spit On Their Graves <\/i>will set you back at least \u00a3300! The early 90s 10LP bootleg version, its 100 copies rumoured to originate in Austria, is slightly cheaper.<\/p>\n

Contrary to the label, colour and sleeve variations, Come Organisation catalogue numbers are comfortingly structured: the wdc 88000 series is for singles, wdc 88100 for albums, wdc 88200 for badges, books and stickers, wdc 88300 for cassettes, wdc 88400 for the KATA catalogues, wdc 88500 for material exclusive to members of the NUPA \u201cfan club\u201d and wdc 88600 for VHS tapes. Come Organisation was one of the pioneers of independently-produced music video tapes: they mostly feature live performances, interviews and fragments of TV documentaries and, even though there aren\u2019t many VHS collectors left out there, original tapes can still command up to \u00a360-\u00a370 each.<\/p>\n

AND IN THE END <\/b><\/p>\n

All good things must come to an end. In 1985, a number of people connected to Come Organisation and Whitehouse moved out of London, effectively marking the end of both the label and the band. Bennett revisited Whitehouse for the Steve Albini-produced Thank You Lucky Stars <\/i>in 1988 and again in the 90s with Philip Best. Bennett remains active in music, also curating the Susan Lawly label for all things Come Organisation and Whitehouse. When intrigued, look no further than Susan Lawly\u2019s excellent compilation CDs Anthology 1 <\/i>and Anthology 2<\/i>, featuring much of Come Organisation\u2019s original output. By creating confrontational and uncomfortable, but also original and compelling music, Come Organisation succeeded in living up to Bennett\u2019s ambition of bludgeoning listeners out of their lethargy. To some listeners, Come Organisation releases may be well outside their comfort zone, but \u201crock\u201d, for want of a more accurate term, has always challenged accepted boundaries. Music is a vital part of our cultural and societal legacy reflecting who we are, what we think and feel, and what we fear and love. Come Organisation records are no exception.<\/p>\n

\n

\n

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The Come Organisation story is inseparably linked to that of William Bennett. The Sex Pistols\u2019 Anarchy In The UK 45 made the 17-year-old Bennett board the train from Edinburgh to London, the epicentre of UK punk, in early \u201978. With little money, no return ticket and nowhere to go, he slept rough in parks before finding himself hired as tour gui\u2026<\/p>\n","protected":false},"author":8023,"featured_media":193521,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"apple_news_api_created_at":"","apple_news_api_id":"","apple_news_api_modified_at":"","apple_news_api_revision":"","apple_news_api_share_url":"","apple_news_cover_media_provider":"image","apple_news_coverimage":0,"apple_news_coverimage_caption":"","apple_news_cover_video_id":0,"apple_news_cover_video_url":"","apple_news_cover_embedwebvideo_url":"","apple_news_is_hidden":"","apple_news_is_paid":"","apple_news_is_preview":"","apple_news_is_sponsored":"","apple_news_maturity_rating":"","apple_news_metadata":"\"\"","apple_news_pullquote":"","apple_news_pullquote_position":"","apple_news_slug":"","apple_news_sections":[],"apple_news_suppress_video_url":false,"apple_news_use_image_component":false,"footnotes":""},"categories":[14],"tags":[585],"issue":[10093],"class_list":["post-193520","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","tag-various-artists","issue-january-2018"],"apple_news_notices":[],"yoast_head":"\nBEYOND LIMITS - Record Collector Magazine<\/title>\n<meta name=\"description\" content=\"The Come Organisation story is inseparably linked to that of William Bennett. 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