Listened through THE RITA "Queen Sheets - The Installation of Megan Miller" 2xLP on Urashima. During this week was talking with couple friends about this project and also other noise things, and somehow felt like I should give it a shot.
While other friend was worshipping early harsh noise works of The Rita, other friend was talking of some female turntable noise artists who didn't create anything pleasant, but something utterly damaging and disturbing. This reminded about idea of some works of The Rita.
This release fits more closely to such vision of noise, where noise isn't very pleasant. Or even highly interesting as sound piece. Perhaps theoretical nature is underlined by format. Seemingly the same continues over 4 sides of vinyl LP. You will see pictures of installation/recording process and sound is very much stripped down to bare bones.
All source sounds recorded for The Rita by Megan Miller during her construction of the two installations 'Queen Sheets' and 'Untitled Form (Barrier)'. So basically there is stones, fabric sheet and metal, etc. but nothing like dramatic musical ways of handling such things. Result also appears as if it was basically one layer of things happening. What makes it different from some The Rita works, is the gaps of near silence. While the sheer massivity of harsh burst is what The Rita is known to do, here it seems much more to be about silences what break the noise wall.
Of course this is not anomality within The Rita output, and there are others like this. And I may also conclude that I have not generally been big fan on many of the works. Something just made me curious and listening 2 slabs of vinyl was fairly interesting. I do appreciate his quite recent ballet -theme LP more, but this also stands as pretty good release as noise what is disturbingly blunt.
https://soundcloud.com/urashima-1/the-rita-untitled-extract-from-queen-sheets-double-lp
"The Voyage Of The Decima MAS" was something I struggled with and eventually accepted, but only after decided the sound itself has merit.
I don't know how representative that little block on Souncloud is of "Queen Sheets" but if that's the standard it just doesn't interest.
The Rita's recorded some very fine Harsh Noise over the years (the first "Retrospective" release still rates highly with me). It's Mr McKinlay's prerogative to go in a more, what I would call, "conceptual" direction. But, like all conceptual art, it's hit and miss.
I find the concepts pretty damn interesting. From trucks grinding to ballet to... Even if the results can fall short for the listener, I still believe him to be one of the more interesting, and significant, artists working in noise today. Admittedly, I'm a hypocrite. I allow him this kind of leeway. I don't approach him with a result-based perspective like I do most. Would I prefer a fantastic musical experience every time? Absolutely. Is that the sole important metric? No. But I do indeed always leave with something. I'm rewarded. He's toying with the world in a way I appreciate and respect.
Quote from: Andrew McIntosh on November 20, 2015, 04:12:16 PM
I don't know how representative that little block on Souncloud is of "Queen Sheets" but if that's the standard it just doesn't interest.
Yes, it is representative of sound, but not magnitude. While many times I am critical for too much of
the same, this is example where 1 minute of sound just doesn't do it. Stength of material lies in monotony and stripped down brutality, equal to multitude of square bricks assembled on ground. Seemingly the same, but creating bigger piece where subtle texture matters. Just one stone would be one stone, like 1 minute of sound is not really good example. 15 minutes per side x 4, pretty much the same, but in the end result is not same as listening this sample 60 times.
Quote from: Zeno Marx on November 20, 2015, 06:17:43 PM
Even if the results can fall short for the listener, I still believe him to be one of the more interesting, and significant, artists working in noise today. I don't approach him with a result-based perspective like I do most. Would I prefer a fantastic musical experience every time? Absolutely. Is that the sole important metric? No.
This is thing what I often struggle. While I'd rather aim for fantastic sonic experience, on other hand, I find it pretty good that not everything is
easy. That material actually has demands what listener must meet before material works. One way to look it, would be consumer music what is designed to hit instantly and work in any environment and equipment to maximize its potential of reaching people. As opposite would be demanding or difficult music, what is not designed to be consumed by
any means, but specific means. Such as 1 minute sample from laptop speakers will most likely result jaded "blah...", but sitting in chair, with double vinyl album with multiple inserts, including drawings of plans, photos of installation and precisely solid 15 minute blocks of sound spread over black vinyl slabs. Something what demands active attention to listening (turning sides etc) as well as is indication of actual stereo system be used. Preferably with loud volumes. Then reaction may be utterly different.
My struggle has been to think whether it's good to make material that works in all conditions or to consciously limit possibilities to drive people to aim for something else than phones & earplugs or laptop speakers. Demand situation where one needs to give full attention where material can go beyond fast-food type approach.
Quote from: FreakAnimalFinland on November 21, 2015, 11:31:30 AM
Just one stone would be one stone, like 1 minute of sound is not really good example. 15 minutes per side x 4, pretty much the same, but in the end result is not same as listening this sample 60 times.
That sounds alright, then.
Quote from: FreakAnimalFinland on November 21, 2015, 11:31:30 AMDemand situation where one needs to give full attention where material can go beyond fast-food type approach.
This is fair enough. But I've often thought that kind of concentrated listening could be applied to anything abstract.
I admit to being a lot lazier with listening, these days. Very strict with likes and dislikes. I respect The Rita and genuinely enjoy what I have of his output, and agree with Zeno pretty much that Mr McKinlay is someone in the Noise scene who's got a good sense of experimentation and conceptualisation. No doubt at all. It's just me not really having time or energy to put into such concentrated listening these days. I prefer, not so much a "fast food type approach", but a simple, meat-and-potato approach these days. The Rita has given us excellent examples of fuck-you, blasting Noise that remain as classics to be appreciated. I prefer that. If he wants to go exploring into difficult territory, best of luck to him.
Just as long as he doesn't start going techno or any bullshit like that. There are limits.
Sam was and still is a big inspiration in my own work he simply rule supreme above all
Quote from: Andrew McIntosh on November 21, 2015, 02:52:10 PM
Just as long as he doesn't start going techno or any bullshit like that. There are limits.
An odd opinion: I find it hard to accept that people interesting in such extreme musical forms as we
do have limits. I prefer to think that there is gold in all genres, I've certainly found it to be the case in my own explorations. Orphx made the transition to a linear, more structured sound very well, I think. It's out there to be found.
Regardless, this is a timely thread, I've been searching all week to find one of these:
(http://i296.photobucket.com/albums/mm177/campaignforinfinity/theritashirt_zps2e33fb6f.jpg)
Think I missed the boat some time ago.
I'm a big fan - while I can appreciate conceptually what he's doing in every regard, I also find it quite pleasing listening wise. When I'm looking for it harsh, I want it fucking HARSH and I always tend to gravitate towards The Rita, Vomir, Concrete Threat for that kind of listening. I work in a psychiatric clinic so after a really harsh there day that's my music of choice for the subway ride home. It's the kind of thing I love to just zone out to, which is why I'm appreciative of the longer records as opposed to the 7"s, even if I collect them as well. It's a shame I don't often get the chance to play this stuff on my home stereo but my wife is not so into this sort of thing and my record player is too far from my couch to often immerse myself in it the way I want. There's typically always a glut of carbon copies selling "HNW" wrapped in a pair of pantyhose and typically that kind of does nothing for me, yet I'm sure I couldn't tell the difference in a double blind test. So for me it's a mix of both aesthetics, presentation as much as the "walls".
I also really like Sam's side projects BT.HN & Edwige as much as The Rita solo - Vitiated and Ritual Totemic Stone are both great records, although I haven't picked up the Tronics BT.HN CD yet.
The records I like the best from him are the ones with a really unique theme or concept, the Skate/Snorkel LP, Queen Sheets, Escorting box set, even the "Vancouver" double 7" compilation is great. I just went through my discogs account and I have like 50 records between The Rita and BT.HN. Sheesh..... this is what happens when you can buy direct and pay in Canadian funds, haha.... I could wax forever on my interest in this sort of thing so I'll wrap up here for now.
Also One, I sent you a PM - I have that shirt and it's way to small for me.
Quote from: ONE on November 21, 2015, 10:26:33 PM
I find it hard to accept that people interesting in such extreme musical forms as we do have limits.
I find it hard to accept people, but here we are.
Quote from: Andrew McIntosh on November 22, 2015, 01:37:43 AM
Quote from: ONE on November 21, 2015, 10:26:33 PM
I find it hard to accept that people interesting in such extreme musical forms as we do have limits.
I find it hard to accept people, but here we are.
Bingo.
I definitely have limits. Doesn't mean they are forever, but they certainly exist at that moment. If something nags at my self-conscious --meaning: I sense there is a
quality there that I want to understand, appreciate, or whatever-- I'll come back to it every now and again. But there are some musics, instruments, and sounds with which I will likely never form a relationship. The way it is.
I was also thinking - I mentioned I was less inclined towards the 7" format, but I also love it in the same right. Short little blasts like Milicent Patrick, Shooting Sharks, Shark Knifing, Female Statuesque, Predators, etc.... Does a great service to the conceptual aspect of what makes The Rita so great.
I haven't gone back to Queen Sheets recently - I'm gonna do this tomorrow.
The other one I love is the DLP with Carlos Giffoni - that use is just fantastic in all respects.
I got a chance to see The Rita for the first time at Amplified Humans Fest a few weeks ago. Amazing mix of his moved from harsh tones, to hard gated crackle with a contact mic in a large plastic sink/tub ending with brutal harsh blasting while snorkeling in the tub. Great set, but I don't mean this as a "show review".
The thing that most shook me was how the heavily gated part was live. I've always really like The Rita's heavy concept, source-mic'd style, but more for imagining and visualizing the source and as Mikko said actively listening with full attention. The live setting was powerful. The sound system at AH was very loud, and every knock and pop that passed the noise gate was like a punch that resonated as it bounced the room. I read a fest review last week from Nicola V./Tisbor where he said something similar with natural reverb. It makes me want to play the recordings louder at home.
I feel like those scrapes and cracks being so physical at super high volume almost emulates how The Rita might intend it to be perceived, that you feel the source. Queen Sheets, Ballet Feet Positions, Laura Antonelli, etc. all have heavy source concepts that require immersion and active listening as they are presented in long form. Curious if anyone else has found a different perspective or appreciation through Sam's live performance.
Quote from: holy ghost on November 22, 2015, 01:17:51 AMBT.HN
Josh, the other half of BT.HN, is a great conceptual artist in his own right.
Quote from: holy ghost on November 22, 2015, 03:53:29 AM
I was also thinking - I mentioned I was less inclined towards the 7" format, but I also love it in the same right. Short little blasts like Shooting Sharks, Shark Knifing
These are up there for me, along with Women Pissing.
I found the Ballet Feet Positions CD to be among my favourites of Sam's. Making great use of silence as well as letting the source material play out.
Living in Vancouver (up until two years ago) I've seen Sam countless times and it's always great. I've seen him do skate stuff, nylon stuff, different nylon stuff, Roman women stuff, other women stuff, couple-pedals-only assaults, etc, and I have to say that the snorkel set at Amplified Humans ranks up there with the best of times. The PA definitely lent itself well to Sam's high-volume standard. The next best thing to that performance for me would have to be when we did Vancouver Noise Fest 2012, again with a killer PA.
I love Sam to death and though the ballet stuff may not be interesting/brutal/harsh subject matter on the surface, I do feel that some of his best work is coming out of this period.
does someone here have filmed The Rita at the Amplified Humans Fest and can give me a link i know there will be a dvd of the whole event but i want to see it before anyway i see him live in mtl and it was LOUD !
the new release on bacteria field sees the Rita continue with the foot fetishism theme conceptually by using raw sound from a pedicure that is processed.
on first hearing the end result is satisfying to listener ears without over reliance on liking the concept.
my left speaker blew up when playing this, so hurrah to the Rita.
full marks though go to mxm 'flesh biting paedophile' who destroyed speakers and amp (cd reissue on industrial recollections)
Quote from: david lloyd jones on September 02, 2016, 05:52:39 PM
the new release on bacteria field sees the Rita continue with the foot fetishism theme conceptually by using raw sound from a pedicure that is processed.
on first hearing the end result is satisfying to listener ears without over reliance on liking the concept.
Got this in the mail the other day. Haven't had a chance to play it yet. Also grabbed the Wood & Metal tape that has a Rita remix on side 2 and I really like. And The Rita/Marion LP showed up in my mailbox and that one is excellent, both sidesaddle really interesting.
A far stretch indeed, but I was wondering if anyone has the back patch Total Black put out some time ago laying around... the same image of the shirt that was posted on the first page. Please write me if you do.
& yes, Sam's work is potent to say the least
Quote from: david lloyd jones on September 14, 2016, 04:09:34 PM
my left speaker blew up when playing this, so hurrah to the Rita.
full marks though go to mxm 'flesh biting paedophile' who destroyed speakers and amp (cd reissue on industrial recollections)
happy to report that replay did not destroy speakers, so hard use, not the Rita to blame
I've been meaning to give The Rita a solid chance for a while now because of the sheer amount of praise and worship his works seems to receive in the noise scene so I picked up the "Sea Wolf Leviathan" CS reissue that came out last year as well as the "Gamzatti" LP to start with. They were both readily available and for good prices. Are these good releases to start with? Anyone have some recommendations for where to go from there?
Quote from: BlackHole on October 31, 2016, 01:59:36 AM
I've been meaning to give The Rita a solid chance for a while now because of the sheer amount of praise and worship his works seems to receive in the noise scene so I picked up the "Sea Wolf Leviathan" CS reissue that came out last year as well as the "Gamzatti" LP to start with. They were both readily available and for good prices. Are these good releases to start with? Anyone have some recommendations for where to go from there?
I'm no The Rita expert (though I wish I was and am interested enough), but I think Sea Wolf is a good choice. I'd also recommend the Anna Christie 3"CD. What do I know? I've never heard anything I didn't like. It depends on your sweet spots. Do you prefer pure sonic terrored brutality? Do you appreciate conceptual recordings? Don't give a fuck? Appeals to your better senses to have both? There's a lot of room to play here.
Both of those releases are excellent choices. Another one I really like is the collab double LP with Carlos Giffoni. I don't know what it is about that one but it's long been a real treat. Recent records I've liked is the Power Monster cassette, the split with Clew of Worms and the split with Climax Denial. I really enjoyed the Climax Denial material as well.
Eyeliner Into Nylon Back Seam cd is my favorite by The Rita and a great one to start with
Played the death out of my SWL tape last summer, need to return to it. True Ass Worship is also an excellent release.
Was just playing the Raymonda cd and fuck if this isn't some of the finest hnw I have ever heard. I've heard some less essential material from this artist but the volume of good releases seems to overshadow those moments. Just purchased the Lilac Fairy 2xLp and look forward to receiving 4 sides of walls from this artist. I certainly hope it lives up to the expectations created by Raymonda. I think I might just play this cd all day.
I found a copy of Standing Water for free in a giant box recently... great success.
The Recycled tape in the deck now for the first time. Released in 2004, but the not-so-wallish and rather stripped down approach reminds me more of his 1990's works. Anyone who can shed some light on this recording? It definitely sticks out from the rest of his post 2000 work, I think.
Did he coin the term "crackle pattern"? If so, has he talked about that in an interview? If so, which one, and where can I find it? Thanks.
Where does the crackle pattern / The Rita connection come up?
Searching this term brings up its definition in relation to art conservation, so I take it this might reference his production or methodology.
Quote from: Baglady on October 31, 2017, 10:07:58 AM
The Recycled tape in the deck now for the first time. Released in 2004, but the not-so-wallish and rather stripped down approach reminds me more of his 1990's works. Anyone who can shed some light on this recording? It definitely sticks out from the rest of his post 2000 work, I think.
I've never actually heard it myself but I remember reading Sam say it was made with an electric fan, or multiple fans?
Quote from: minimal.impact on April 11, 2020, 11:02:02 AM
Where does the crackle pattern / The Rita connection come up?
Searching this term brings up its definition in relation to art conservation, so I take it this might reference his production or methodology.
One of the more recent Noisextra podcast guests mentioned it. I can't remember which one.
It was me. I mentioned it. I don't know if the exact two words "Crackle" and "Pattern" are something he copyrighted, but I was simply saying that Sam is a person who goes out of his way to isolate the exact set of textures and frequencies that he engages with in harsh noise and strip down/focus his sound until he gets those exact frequencies, textures, and pressures. If you find a copy of As Loud As Possible, his "Politics of HNW" article has him musing on the exact textures and frequencies of the then-emerging HNW as a genre and asking Skin Crime, Richard Ramirez, Paranoid Time, and Hum of the Druid their own takes on distortion and texture. If he doesn't outright say "crackle pattern" in there, he says "crackle," "distortion lines," the "vicious details of Harsh Noise," etc.
I've heard him say crackle patterns and distortion lines (or something similar) when talking about this stuff in person, though I can't point to interviews or anything. The point was that Sam doesn't just "vibe on these noise jammmmz," he methodically narrows and adjusts his listening and production into a specific set of tonal and textural criteria that pleases him.
Here's a few paragraphs of what I'm talking about, from the "Politics of HNW" article:
In the last few years, one topic of debate within the harsh noise world has been the defining factors that have built up around what is now known as the sub-genre 'Wall Noise.' Power Electronics discussion used to dominate areas of disagreement, contrast, and arguments over stylization and content, but as of late, I have witnessed even longer, more in-depth discussions/arguments over the tonal qualities and supposed purpose of Wall Noise. This facet of harsh noise has been met with violent opposition from some artists, as the tonal statements it presents can put some people over the edge. Wall Noise is seen as a threat to some, as it can disregard themes that some harsh noise fans feel need to be infused in harsh noise, such as drama, story, entertainment, etc. But does Wall Noise actually ignore the standards that previous harsh noise classics have achieved? Is the motivation behind this style of noise completely different, or is Wall Noise part of a healthy and creative growth pattern of Harsh Noise that simply carries the form to extremes for fans of heavy noise?
Before we get into this further, I should discuss in plain English the developments of Wall Noise over the years. Sound artists have obviously meditated over themes of minimalism in tones and 'noise' for the last century. Even a cursory overview ranges from the Futurists' examples of violent engine sounds, to Philip Corner and his 1962 work 'Black Hole' (from Oracle, an electronic cantata on images of war: strike week version -- a piece which scarily sounds a lot like contemporary Wall Noise works), to LaMonte Young's minimalism, the immense volume and snapping violence of Zbigniew Karkowski, Francisco Lopez and his soaring works, all the way through to something like the minimal and quiet works of Bernhard Günter. The range of noise study is long and surely accomplished, some works being examples of noise for noise's sake, and others acting as examples of stages of tonal and sound study, as an artist like Chop Shop would display in his levels of study and experimentation. The academia behind the works of sound artists of the past century plays a critical role in the establishment of Harsh Noise into the late 1970s, '80s and '90s, as projects like Merzbow, Hijokaidan, The Haters, Incapacitants, etc. took form with acute knowledge of the past techniques and ideologies. But Wall Noise took a very different path of influence and workmanship, which is one of the most important aspects of the sub-genre. Rather than from sound art, Wall Noise has grown from the roots, sound, and mania of the 1990s 'Americanoise' culture.
First of all, in subtle contradiction of what was just stated above, Wall Noise is nothing new. It has indeed taken some forms of harsh noise to new levels of study and heavy interest, but most wall noise artists take their influence from very defined past works. Japanese harsh noise obviously has its prime examples of massive cascading walls of noise with projects like Hijokaidan, Incapacitants, and Monde Bruits, each taking different aspects of harsh noise generation and layering them into mountains of sound. To a lesser extent, Merzbow's stylizations can be evaluated with many of his studio works, but his live works have been focused in the past on massive layers of continual sound. The Japanese had a major influence on the harsh noise movements of North America (for those not already acquainted with something like The Haters or early U.K. Industrial projects) in the 1990s, perpetuating the popularity of American projects like Macronympha, Skin Crime, Richard Ramirez, Black Leather Jesus, Taint, etc. Something that one notices almost immediately about 'Americanoise' (the term used initially to describe the heavy and dark distortion-laden Mother Savage Noise Productions cassette compilation from 1995, and then used frequently to describe the North American harsh noise style of the 1990s) is the style, the sound. American harsh noise back in the 1990s was noticeably dirtier, concentrating on the crunch and rumble a lot more than the squeal and jolts of some Japanese artists with their cleaner feel. American harsh noise was representative of something a little meaner and more dangerous, and this instigated a new way of interpreting the harsh noise form of the time. The culmination of this 'sound' can be heard in Joe Roemer's (Macronympha) side project OVMN, which stands for 'Optimum Volume Maximum Noise.' OVMN is a virtual avalanche of harsh noise that is purposely the harshest possible, culminating in massive walls of sound while representing the American noise ideal with its grit and darkness. Contemporary Wall Noise artists are the children of the 1990s Americanoise, with a strong interest in the characteristics of the genre as a whole. The Incapacitants and crustier Japanese acts such as Cracksteel and MO*TE are also driving influences, but it's the cassette culture and sadism of the North American sound that you can really hear in the heavy distortion lines of modern Wall Noise artists.
Thanks so much. VERY much appreciate the excerpt and where to look.
Another thank you for sharing, fascinating read.
Quote from: Zeno Marx on April 16, 2020, 06:04:16 PM
Thanks so much. VERY much appreciate the excerpt and where to look.
Quote from: Neanderthal on April 17, 2020, 08:50:02 AM
Another thank you for sharing, fascinating read.
Agreed! Thanks!
Just finished watching this - https://www.youtube.com/watch?v=zFx-370IGsQ
Delves into Sam's obsessions pretty thoroughly for a 25min documentary.
QuoteThe Rita is the noise project of 45-year old Vancouverite Sam McKinlay. A pioneer of harsh wall noise (or HNW) who began in the late 1990s with Italian horror-influenced releases like Crusty Etruscans (1998) and Possessed Nun Sleaze (1998). After a brief hiatus to finish a fine arts degree, he returned with a vengeance in 2004 with Bodies Bear Traces of Carnal Violence, which would kick off a highly prolific period that hasn't let up since, and has taken him (and his audience) in a variety of surprising artistic directions.
McKinlay's cinematic obsessions – which become quite literally the foundation for his sound pieces – have followed a fascinating trajectory from giallo and krimi films, to sharks and Italian frogmen to his greatest love: the classical ballet. We asked McKinlay to create a sound piece inspired by the 1960s B&W roughies and he zeroed in on Whit Boyd's Spiked Heels and Black Nylons (1967), featuring beehive hairdos, black nylon worship and 1920s-style heavy black makeup. Here, the Rita translates the film's visual aesthetic into a crackling analog soundscape by mic'ing and overdriving vintage black nylons themselves as they stretch and move over participating women's thighs.
To accompany The Rita's sound piece, McKinlay's brother—documentary filmmaker and professional skateboarder Mike McKinlay—has created the 30-minute documentary Tights Worship. The film traces Sam McKinlay's early days as a punk skateboarder through his academic development as a conceptual artist into a highly esteemed noise practitioner whose work bridges the gap between the gallery world and the sleaze of exploitation film imagery. It documents the physical processes of his work and the distillation of visuals into sound, most notably addressing the appeal of abstraction—from the cheap effects of old monster movie makeup to the 'masks' created by the heavy cosmetic makeup of 1920s flapper culture and actresses like Pamela Stanford in Jess Franco's Lorna the Exorcist (The Rita has albums or EPs named after several eurotrash actresses, including The Nylons of Laura Antonelli (2009) and Monica Swinn/Pamela Stanford (2016)).
There is a new book from The Rita on Amaya Productions that looks great. I ordered a copy with the slipcase and look forward to checking it out: Order Here (https://www.amaya-productions.com/?fbclid=PAAaabeGunAogo4WfJ2qt_bkRk5QezbtvX4rEzwhvQs4FOs_etxfe_JBhmopU_aem_ATsvrF29pVzkRWUUugK59j1mtTqg7R0SSStXo_V-LjUXCWDVkONbzRN7Pk18Q8tyVFY)
Description from the publisher:
QuoteCredited as one of the pioneers of 'harsh noise wall'; influential artist Sam McKinlay (b. 1974, CA) has been operating under the alias The Rita for over 25 years. Having performed extensively and credited with over 200 releases, the project has grown into a laser focused multidisciplinary venture and is celebrated for pushing the boundaries of 'harsh noise'.
Accompanying The Rita's singular and often unpredictable sonic output is an inseparable and distinct visual language. By combining McKinlay's fine arts education, research, experimentation, and collaboration; the project visually and texturally unites the artist's interests in minimalist design, noise, ballet, sharks, choreography, and film.
'Correlations' presents some of the images and documents McKinlay finds most definitive in his practice. The monograph is designed to provide a cohesive understanding of the artist's creative trajectory, as well as illuminate The Rita's uncanny process that visually, conceptually, and historically 'connects' seemingly unrelated subjects.
Published by Amaya Productions and curated by Andrea Stillacci; the monograph includes essays by the author and Centre Pompidou art historian Nicolas Ballet ('Shock Factory: The Visual Culture of Industrial Music'), associate Professor and harsh noise artist Lexi Turner (Cornell University), and author, writer, producer Kier-La Janisse ('House of Psychotic Women').
'Correlations' is 9.5" x 12.25", 200 pages, full color offset, edge painted 'ballerina pink', hardcover wrap with debossed cover text. Printed by Graphius (Gent, BELG).
ISBN: 9798218294854
Someone who can articulate their process, their ideas, their work, etc (via words or otherwise), shouldn't be confused with "intellectual arty shit". I personally find it refreshing and incredibly valuable; to both myself, but more importantly, to this culture. Richard Serra was a real gift in this way. Bumbling through likes and dudes is fine too. Casual conversation is also necessary.
Quote from: Spectral_Hiss on March 02, 2024, 05:51:54 PMThat said, when you're talking about a genre that consists of walls of white noise, too much "meaning" spoils the minimalism and delectable poverty of the sound.
Your comment got me thinking---how minimal really is The Rita? Some of his projects require an immense amount of effort in order for the source sounds to be recorded or compiled (definitely much more than many supposedly "maximalist" noise recordings).
Quote from: Spectral_Hiss on March 02, 2024, 05:51:54 PMtoo much "meaning" spoils the minimalism and delectable poverty of the sound.
Right, and who is that on?
Total worship for the first releases/concepts (Zombi, Edwige Fenech, Sharks, etc), although the number of micro-releases makes it for me impossible to stay behind everything (and probably it's not even that necessary), up to the 3LP box "Escorting", for me his best release (thanks also to the top-notch collaborations in it). Afterwards, he started to kind of "intellectualise" his concept and also the sound shifted from a corrosive wall of noise to a more "abstract" and, for me at least, sometimes senseless sound. Still, the violent physical matching between his obsessions/imagination and noise remains the main trademark of this project.
I was waiting for ages to be able to see him live, but when it happened last year (in the tour with Black Leather Jesus, etc..) I have to admit that his performance deluded me a bit. It was kind of boring and not the massive wave of sound I was waiting for. But I think it depends on the fact that I am never been such a huge fan of his "buzzy" releases.