Monday, December 03, 2018

LAKE SHARK HN #10 - ZK - ISILO


LAKE SHARK HN #10 - ZK - ISILO (C20)

Like the audio from what can only imagine to be from the trenches of war, ZK’s material entitled ‘Isilo’ acts as a barrage of weaponry and it’s vicious outcomes.  Like repeated stereo, foreground and background explosives that cause massive mounds of earth and material to fly in the air, fall and decay, Polish visual and abrasive sound artist Zuzanna Kuzmicka has, for her first label release, created a cacophony from a perfectly orchestrated battlefield.  My first listens to the ‘Isilo’ material left me spellbound over the achieved sound as Zuzanna’s sense of drama and timing that punches, cracks and connects from all layers may be one of the finest harsh noise releases ever recorded.  The following notes from Ted Byrnes and William Hutson only further the evidence:

“The ZK material strikes me as somewhat of an enigma. It also just plainly strikes me. It is glacial but agile, densely layered but completely articulate, feels visceral but also feels as though it has been created with electro-acoustic compositional precision.
She, as a person, seems to fall somewhat in line with that - not part of a scene, not trying to follow trends - just a person obsessed with certain qualities of sound and a desire to explore them. When Sam sent me a soundcloud link via email with text that only read "LISTEN TO THIS" I was of course intrigued. What could have him this excited? What could sound so new to warrant such excitement?
Needless to say, I clicked the link and heard Isilo 1, and heard aspects of sound I've never heard in a harsh noise context, alongside interesting and well-thought out compositional decisions. I listened to that track 4 times in a row, entirely for the pure joy of hearing it. It was that satisfying. Layers falling in and out from a staccato source that I still can't put my finger on. The piece almost has an acoustic feeling - as if she's molding each sound as it happens, with her own hands, like clay.
Isilo 2, almost in contrast, starts as a fast moving barrage of sound and static that makes me wish it was coming out of the biggest PA in the world. It settles in to deep, cragged canyons of static and activity that give a nod to harsh noise masters while remaining completely singular and, frankly, dark and deep. Like a deep sea avalanche where the sound of each individual scraping rock and crevice is amplified. Deep, dark, terrifying - alone in the abyss.
In short, I can't recommend this enough.”

- Ted Byrnes

“Noise artists are made in isolation. Most places in the world don’t have a local Noise scene. It’s the kind of music that only has enough listeners to even identify its fanbase and artists as a community if you take into account every listener and creator across the globe, each most likely alone in her own city. This condition predates the internet, by the way. By awhile. Before online fora and social media, Noise artists traded tapes and zines by mail, across continents. For these reasons—back in the days when we’d all buy new releases by circling titles on crumpled RRRecords order forms—we expected that the strongest, most surprising new tape could come from a previously unknown artist from some far-flung corner of the world.
The internet has made this exchange faster, but its nature is otherwise unchanged. Poland’s ZK is a revelation. She developed her unique voice without ever releasing a tape, or playing a live show. While the influence of more established artists is evident—particularly The Rita and early Hum of the Druid—ZK’s debut marries several styles and techniques into a particularly satisfying and consistent whole. Her sound is not a radical departure from much contemporary Noise, but rather a refinement, executed in a way that I’ve never heard done before, or at least never heard done so expertly. On its surface, “Isilo” has the crumbling, stuttering texture fetishized by the most detail-oriented HNW enthusiasts, but underneath is a gestural quality, active and dynamic. The impression I get is not one of stillness, but rather turbulence, constant change and movement, all pushed into such an overwhelming roar that distinct events become imperceptible. It’s only a slight reinterpretation of established forms, but a welcome one. Perhaps something like this had to come from an unknown artist, someone who absorbed Noise from a distance, heard what was missing, and figured out how to fill a stylistic absence we didn’t even know was there.”

- William Hutson

Pro-tape C20, edition of 100, gloss card cover featuring artwork by ZK in classic Slaughter / OEC style ziplock packaging.  THIS MATERIAL IS MEANT TO BE PLAYED AT A VERY HIGH VOLUME.
$8 USD plus postage.
Email lakesharkhn[at]gmail[dot]com with your address for ordering information.
Wholesale orders welcome.
For an Isilo preview excerpt go to: https://soundcloud.com/zksixsixsix/isilo

Monday, November 26, 2018

THE RITA LIVE IN BERLIN, ARTIST TALK IN MILAN

"The Rita
with Tommy Carlsson (0:00 - 2:59)
with ZK (2:59 - 3:42) 
live at Ausland Berlin 13 nov 2018
recorded by Roy Carroll 
audio edit & treatment by dp
photo by Viviana Druga

HNWballetfetishharsh noiseVancouverCanada
The Rita with Tommy Carlsson & ZK 181113 by atra (atonal_zürich) is licensed under a  Creative Commons License."


"On 17/11/2018 I had the honor of hosting a little harsh noise lesson/workshop/guided listening session with a couple of my favorite musicians of the genre (and perhaps some of my favorite musicians period): Romain Perrot (Vomir, Trou Aux Rats, etc) and Sam McKinlay (The Rita, Bt.Hn etc) in a seedy basement of Macao, a beautiful squat in Milano. It was a very unusual way to open up for a heavy night of noise and power electronics (i performed with Vomir and Sam played as The Rita, other acts were Rusalka and Mk9 - so a pretty fucking awesome line-up). I brought a little part of my private collection and tried to introduce my favorite kind of music to the very interested audience as best as I could. Sam and Romain were great and right on point with their remarks. I hope you'll enjoy it."

- Nicola Vinciguerra

Tracks played:
Walter Marchetti - "Osmanthus Fragrans"
Mauthausen Orchestra - "Anal Perversions"
Pain Jerk - "Gadget Bondage"
Hanatarash - "Total Retardation Side A"
The Haters - "Death Defying Sickness"

https://soundcloud.com/nicola-vinciguerra-1/harsh-noise-workshop-with-me-romain-perrot-and-sam-mckinlay

Thursday, August 30, 2018

THE RITA - Montreal Live Recordings

THE RITA live recordings from the March 2018 live shows in Montreal, QC.

1.  2018-03-17 - La Plante 18:58
2.  2018-03-18 - Brasserie Beaubien 13:12

Show recordings, imagery and extensive notes available from Absurd Exposition:
https://absurdexposition.bandcamp.com/album/montreal-2018

Saturday, July 28, 2018

THE RITA - Letestu 7"

THE RITA - Letestu (Disclosures 7")
It’s no secret that the classical and the neoclassical ballet has a been a primary proponent in my artistic and physical output over the last 4 years (and for probably the rest of my media arts career), and as the major projects have been developed and taken shape, I think often about the initial classical ballet performances that began to shape the various interests.  The memories always circle back to the Paris Opera Ballet and danseuse étoile Agnès Letestu.  The first classical DVD I bought was the Paris Opera Ballet’s production of LA BAYADERE and immediately noticed Agnès Letestu as one of the three shades, thus making my second purchase the 2005 Paris Opera Ballet production of Swan Lake which features Agnès Letestu as Odette / Odile.  Amongst everything else in the performance, Letestu’s potrayal of Odile consciously cemented my interest in the ballerina as a whole; the makeup, facial features, gestures, costume, form and Agnès Letestu’s incomparable angular posture.  As the magazine, DVD, VHS, and Blu-ray collection grew exponentially, I was able to see even more of Letestu’s profound abilities for pantomime and drama, most notably in the Paris Opera Ballet’s 2003 production of LA PAQUITA.  Eventually, the apex representation for me as a fan of Agnès Letestu has easily been her role as the Siren / La Courtisane in Balanchine’s LE FILS PRODIGUE.  Strangely enough, I first saw her in the stunning costume during one of the documentaries about her as she was fitted with the arm bands in her dressing room.  Finally finding and seeing online the Paris Opera Ballet’s 2001 production of LE FILS PRODIGUE was absolutely awe inspiring and a massive cumulative experience as again, the Georges Rouault ‘designed’ costume with Letestu’s uncanny stage abilities further cemented my thought that Agnès Letestu may be the absolute stage representation of woman.  In other words, divine and a living, moving goddess.  Over the years THE RITA has revolved many works around European genre film and pre-code vamp / flapper actresses, and the continuing life dedicated to the classical ballet has informed fascinations with other ballerinas such as Ludmila Semenyaka, Natalia Bessmertnova, Tatiana Terekhova, Marianela Nunez, Claire Marie Osta, Natalia Osipova, Maya Plisetskaya, Svetlana Berisosova, Ariana Lallone, Olesia Novikova and Alina Cojocaru, but again, for me Agnès Letestu is always the apex representation of the female performer.
The Letestu 7” on Disclosures has been one of the most difficult releases I have had the opportunity to work on as my audio and aesthetic tribute to Agnès Letestu had to be all encompassing and representative for me.  The various processed sound samples from rare imported documentaries layered with further mic’d pointe shoe sounds from Arlo Doyle, the 7” format (which is always my absolute favourite) and the imagery all had to be seamless.
The only thing I could imagine being more difficult is meeting Agnès Letestu one day and nervously expressing to her that all my primary fascinations with the aesthetic and movements of the ballet have been shaped by her.
- Sam McKinlay

CONTACT lakesharkhn[at]gmail[dot]com FOR AVAILABILITY, POSTAGE RATES AND PAYMENT INFORMATION.  

THE RITA - CHOREOGRAPHY TO CRACKED LINEAR TEXTURAL SOUND


THE RITA - CHOREOGRAPHY TO CRACKED LINEAR TEXTURAL SOUND from Mike McKinlay on Vimeo.

ELEMENTS OF CLASSICAL AND NEOCLASSICAL BALLET USED TO CHOREOGRAPH A DANCER'S MOVEMENTS TO JAGGED LINES OF SOUND.

CREDITS -

DANCER: KELLY DAVIS
CHOREOGRAPHY: SAM McKINLAY
ELECTRONICS: SAM McKINLAY
SOURCE SOUNDS: OLIVIA BURR, KRISTIN HAYTER
COSTUME AND MAKEUP DESIGN: SAM McKINLAY
DIRECTOR OF PHOTOGRAPHY: MIKE McKINLAY

REFERENCES -

GESTURE AND PANTOMIME:

GISELLE, ACTE I, SCENE D’AMOUR
RAYMONDA, ACTE III, VARIATION DE RAYMONDA

COSTUME:

MARTHA GRAHAM - HERETIC
CARMEN SUITE - TOBACCO GIRLS

MAKEUP:

CARMEN SUITE - FATE
PETRUSHKA - THE BALLERINA

FILMED AT STUDIO31, VANCOUVER, BC, CANADA

THE RITA
bakurita.blogspot.ca



Wednesday, July 18, 2018

THE RITA at The Polygon Gallery, July 27, North Vancouver

HAPPENING JULY 27, 2018 AT 7:00 PM  TO  10:00 PM
FRIDAY NIGHT MUSIC WITH BC HYDRA, MOURNING COUP AND THE RITA
JULY 27, 2018 AT 7:00 PM

Related exhibition:
SUSAN HILLER: ALTERED STATES

#SUSANHILLER #ALTEREDSTATES #THEPOLYGON
On Friday, July 27, join us for an evening of transforming and transporting musical energy, inspired by Susan Hiller: Altered States and programmed by Vancouver-based artist and musician Brady Cranfield. Enjoy performances featuring the bracing noise of The Rita, the dark pop of Mourning Coup, and the musical psychotropia of the BC Hydra DJ crew. A cash bar will be open throughout the evening.

Brady Cranfield is a sound and visual artist, musician, and writer. He has a MA in Communications and a MFA from SFU. His work has been exhibited and performed across Canada.

Various obsessions have guided Sam McKinlay’s abrasive sound project entitled THE RITA into different paths of rough and textural constructions of audio since 1996.  From genre cinema sound sources, to mic’d cage diving with great white sharks, to mic’d women's makeup application and movement in nylon stockings; the various deconstructed elements of the live and pre-recorded sources lead to a heavily directed and immersive listening experience.  Over the last four years, physical elements of the classical and neoclassical ballet have acted as a culmination of driven interests for McKinlay’s THE RITA.

Mourning Coup is a classic rock tribute band commonly mistaken for experimental pop. Spear-headed by Chandra Melting Tallow, Blackfoot visual artist and producer, mastering the art of psychic defence as song writing. In 2015 Mourning Coup their debut LP "Baby Blue" on No Sun Recordings. Rapture of Roses, a cross disciplinary project integrating performance, visuals and music, premiered at Unsettled for Vancouver Queer Arts Fest 2017.

Cash bar available.

Wednesday, July 04, 2018

Werewolf Jerusalem \ The Rita \ Vomir - Threesome Slitting LP

Werewolf Jerusalem \ The Rita \ Vomir - Threesome Slitting LP

"Live collaboration between these titans of harsh noise. Recorded February 2014 at Dead Audio studio, in Houston, Texas. Double sided offset printed DIY style pasted covers, including A4 insert, plus fliers from live events taking place surrounding these sessions. Mastered and cut at Dubplates & Mastering for maximum fidelity. White label 45 RPM 12". Absolutely brutal record, you know what to expect with this one."

Edition of 300.

Now available direct from LAKE SHARK HN
$20 CAD
Email lakesharkhn@gmail.com for availability and postage rates

 

Wednesday, June 06, 2018

THE RITA LIVE IN JUNE, 2018

Beatrix Syjuco with THE RITA
Saturday June 16, 2018, 1:30 pm
Kurbatoff Gallery, 2435 Granville Street
THE NEW BLOCKADERS & GRINDER-WITHOUT-ORGANS
THE RITA / NIHILIST ASSAULT GROUP / THE NEW MOVEMENT
Friday June 22, 8 pm
Stylus Records, 291 E 2nd Ave, Unit 99