THE RITA

[FreakAnimalFinland]

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

[Andrew McIntosh]

"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.

[Zeno Marx]

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.

[FreakAnimalFinland]

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.

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.

[Andrew McIntosh]

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.

Demand 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.

[Bleak Existence]

Sam was and still is a big inspiration in my own work he simply rule supreme above all

[ONE]

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:



Think I missed the boat some time ago.

[holy ghost]

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.

[Andrew McIntosh]

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. 

[Zeno Marx]

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.

[holy ghost]

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.

[ligature impression]

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.

[absurdexposition]

BT.HN

Josh, the other half of BT.HN, is a great conceptual artist in his own right.

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.

[Bleak Existence]

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 !

[david lloyd jones]

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.