Started by FreakAnimalFinland, November 20, 2015, 03:46:36 PM
Quote from: minimal.impact on April 11, 2020, 11:02:02 AMWhere 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: Zeno Marx on April 16, 2020, 06:04:16 PMThanks so much. VERY much appreciate the excerpt and where to look.
Quote from: Neanderthal on April 17, 2020, 08:50:02 AMAnother thank you for sharing, fascinating read.
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)).