LAKE SHARK HN #11 - CRACK BYTCH - Chain Link Toe Holds, Live at Brickhaus May / 15 (C20)

Lake Shark Harsh Noise presents the pro duplicated and imprinted tape edition of Iona Hall’s noise project CRACK BYTCH.  Brilliant chapters of abrasive sound that cover a large landscape of technique and acute attention to detail.  Concentrated volume shifts that violently bring witness to each different line of developed sound still manage to relay a very personal feel to the recordings as Hall negotiates the various qualities of different sub-genres and how they effect each other when they’re chained together.  When I was asked to give an example of 90s harsh noise / power electronics which can be compared to the work, stylistically the TAINT cassette ‘Savage Weapons’ even comes to mind.  Like this example of chaptered 90s HN / PE, Hall also seamlessly constructs and deconstructs the rough audio segments, but with the varying textures, faraway storms, vocals and liberal use of tangible AM radio lines to build CRACK BYTCH’S own brand of harsh noise storytelling.
- Sam McKinlay

Crack Bytch is mystery music of the highest order, ritual apathy pulling life's confusion into a cohesive sound field. The touchstone is the 1980s experimental tape scene before it splintered into highly stylized camps that walled off additional influences from infecting the purity of the whole. Here everything is permitted, there is no adherence to a singular style but a multidimensional map of psychic geography tracked and condensed into sections of sound.
I was fortunate to be there at the Bytch's birth and also able to experience it progress from the pure physical frenzy and transgression of the early live sets to the more nuanced final studio recordings. Thankfully these recordings are now readily available and I heartily recommend this most human music made using the personal fragments of Crack Bytch reality. Simply put, this is some good shit.
- Rodger Stella

Pro-tape C20, edition of 100, semi-gloss card cover in classic Slaughter / OEC style ziplock packaging.
$8 USD plus postage.
Email lakesharkhn[at]gmail[dot]com with your address for ordering information.
Wholesale orders welcome.


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, semi-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:

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
$10 USD plus postage.

MLEHST / THE RITA - Fabric and Paint (Belief Recordings Pro-CDr)

"Tracks 1 & 3: Mlehst remixed by The Rita.  Track 2: Mlehst remixed by The Rita remixed by Mlehst.  Pro-duplicated CDr in jewel-case.  Front cover art features vintage ballerina Nora Kaye.  Edition of 75 copies."  
$12 USD plus postage.

THE RITA - ANATOMICAL CHARISMA (Amphetamine Sulphate Book)

AS #16 Sam McKinlay 
‘THE RITA - Anatomical Charisma’ 
Introductory notes by Gabrielle Losoncy 
Stapled color art booklet, 48pp.
High quality art plates, exclusively designed and executed for THE RITA.
Includes two post cards while supplies last. 
$15 USD plus postage. 

THE RITA - Magazine (New Forces Reissue Double LP)

"New Forces is happy to announce the reissue of "Magazine," the landmark noise album by The Rita, as a gatefold double LP. Originally released as a limited-edition double cassette on Swedish label Abisko in 2005, "Magazine" has since become a near-legendary album, considered by many to be the finest recording from pioneering harsh noise artist The Rita (and equally celebrated for its iconic artwork, featuring a Big Muff effects pedal acting as the magazine for a machine gun). "Magazine" contains 80 minutes of militant noise music, with Sam McKinlay pushing the limits of extreme sound until they begin to implode. Drawing influence from abstract painters such as Ad Reinhardt and Kazimir Malevich, the four tracks on "Magazine" are progressively deconstructed, slowly taking the dynamic sonic elements away until the last track is a linear / minimalist “wall” of texture and crunch. Ultimately the hope is that under a microscope the same slowly deteriorating audio dynamism and viciousness from the first three tracks is still present, just found within the walls of linear crunch during the last track, “Obsession.” A study in brutality, density, and focus, "Magazine" tests the listener, challenging them to fully engage with the shifting layers of sound that, through careful study, continually expand beyond their seemingly minimalist form. This militant approach to sound became a call to action for a generation of noise artists who were influenced by The Rita, and "Magazine" has finally been reissued for all to hear."
$24 USD plus postage.

THE RITA - Magazine (New Forces T-shirt)

"Shirts featuring the iconic artwork from the original cassette version of "Magazine." Printed on Bayside brand American made shirts, which fit like a standard Gildan but are of higher quality."  Size M available.
$20 USD plus postage. 

LINGUA IGNOTA / THE RITA - Commissioned (Total Black LP)

"Our 3rd LP from THE RITA, COMMISSIONED is a split LP with the A-side belonging to LINGUA IGNOTA. Stripped down piano and vocals renditions of Scott Walker's "Girls From The Streets" and Dolly Parton's "Jolene" mark a departure from her previous works. On the opposite side THE RITA deconstructs works by Igor Stravinsky played by Mallory Linehan, continuing down the path of ballet obsession explored in recent years. Limited edition of 300 copies in pro-printed sleeves." 
- Total Black

"Ongoing collaborations with THE RITA explore notions of embodiment and disembodiment, obsession and worship, creation and obliteration. COMMISSIONED is what we asked of each other, as the work is no longer just about the sonic realm — it has become about us, he and I, and our awareness, embedded within almost two years of constant communication, back and forth, exchanging ideas, exchanging heartache, one following the mind of the other. That our work is so different yet rooted in restlessness, an inability to sit still, loneliness, and follows angles, lines. The line of a voice vs. the line of a wall. COMMISSIONED is an understanding, a pact." 
- Kristin Hayter
$17 USD plus postage.

THE RITA - Linked Arms and Touching Torsos (Obsessive Fundamental Realism CD)

All sounds: arms and torsos (skin and tutu bodice).  Reference: Sleeping Beauty (Prologue - The Christening - Pas De Six - Coda), Swan Lake (Act 3 - Cygnet's Dance), Paquita (Act 2 - Variation de Lucien). 
Insert and tray paintings by Michelle Fierro.
$14 USD plus postage. 

THE RITA - Overdriven Makeup Worship: Women in Stage Makeup (Nefarious Activities 3" CDR)

"Sam Mckinlay's efforts with The Rita have established a household name in the world of art and music. But behind every familiar face lies details unseen or unknown. Makeup and the application process as seen in the most objective manner possible unveils and highlights the sleight of hand and focus on a final vision dictating every single application. Hear the sounds of process and beautification. 3" cdr in color pocket sleeve. Edition of 50 numbered copies." 
The 3" CDR features unprocessed makeup instruction samples only. 
$5 USD plus postage. 

WEREWOLF JERUSALEM / THE RITA / VOMIR - Threesome Slitting (Total Black 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.
$17 USD plus postage.

THE RITA / PHILOSOPHERS OF DARKNESS - Gracilis (Obsykr Records 7")

"Split with The Rita and Philosophers of Darkness.
Printed 300gsm sleeve, violet clear vinyl. 
Edition of 200." 
$10 USD plus postage. 


Collaboration featuring William Rage and Sam McKinlay honouring the cult movie actress Viju Krem and her violent ballerina role. 
$7 USD plus postage. 

THE RITA / MARION - Crystal Smith (Barton Street LP)

Black vinyl edition with insert and limited clear vinyl edition with insert and silk screened poster.  Dedicated to early 1970s erotic model Crystal Smith. 
$15 USD plus postage. 

THE RITA - Absolute Tights Worship Women's Leggings (LSHN)
Professionally printed, 9.5oz 95/5 ringspun combed cotton/spandex. SOLD OUT
Zola Jesus wearing the THE RITA leggings

Lingua Ignota wearing THE RITA leggings 

Lingua Ignota wearing THE RITA leggings

CALIGULA031 - Odessa Ballerina Women's Leggings (LSHN)
Professionally printed, 9.5oz 95/5 ringspun combed cotton/spandex, only size L left in stock: Natural Waist - 30" - 31", Hip - 40.5" - 41.5"
$25 USD plus postage.
Zola Jesus wearing the CALIGULA031 leggings

IUGULA-THOR - Opera (Elettronica Radicale Edizioni, Lake Shark Harsh Noise, Old Europa Cafe CD)

Re-edition of the tape out on Old Europa Cafe in 1996 into CD format.
The album was completely remastered by P.NG5361.BANDERA (Sshe Retina Stimulants / Sigillum S) and includes as a bonus “Cuts series”, over 20 minutes of previously unreleased material, recorded in 2007/2008 for the “Sex Cuts” sessions.
"Alongside Dead Body Love's classic "Low-Fi Power Carnage", Iugula Thor's "Opera" is also a massive documentation of distortion concentration and a prime example of Italy's 90s penchant for samples and sources drenched in overdriven texture."
LAKE SHARK HN is honored to be able to participate in this reissue as along with DBL's "Low-Fi Power Carnage" it is another primary influence on the sound of THE RITA. 
The CD comes in brown digipack, featuring and extensive essay by Sam McKinlay (The Rita) and alchemical artwork by Marco Wertham.
Wholesale enquiries are welcome.
$10 USD plus postage.

GAMZATTI / RAYMONDA High Quality Woven Patch (3.5" x 3.75")
$4 USD plus postage.

THE RITA Card Mini Poster (8" x 6")

Double sided card featuring an all encompassing commissioned illustration by Japanese artist Zukk on one side and the cumulative THE RITA classical ballet chart on the other. 
$2 USD plus postage. 

DEAD BODY LOVE - Tribute Poster

Originally included with the special edition of the 'Low-Fi Power Carnage' reissue CD from Militant Walls and PACrec/Troniks.  Perfect way to honour one of the greatest and most influential harsh noise artists of all time.  Dead stock, offset printed, glossy, 11" x 17", factory folded for shipping. 
$2 USD plus postage. 


THE RITA - Medora (Old Europa Café)
CD Digipak
Here comes the next THE RITA attack on Old Europa Cafe...
This time also coadiuvated in noise-crime by CALIGULA031, CLIMAX DENIAL, LINGUA IGNOTA, TED BYRNES...
“I’ve seen some people saying that English National Ballet’s Le Corsaire is so out-of-date it’s risible to see it staged in the 21st century. Sex trafficking, men in black with scimitars in Istanbul, pirates trading slaves across the Mediterranean, rich fat men rubbing their jewelled paws over fresh young bodies — pshaw indeed!” 
- Ismene Brown
“Act I 
Scene 1: The Sea-Shore Conrad and his friends are washed ashore. Young Greek women appear, led by Medora and Gulnare. They soon discover the shipwrecked corsairs, and immediately Medora and Conrad fall in love. But soon the women become aware of impending danger, and quickly hide the corsairs. A patrol of Turkish traders, in league with the villainous slave dealer Lankandem, are hunting for beautiful woman to sell as slaves. The Turks soon capture the young Greek women, and are paid handsomely by Lankendem. They soon head off to the slave market in a Turkish bazaar, and the corsairs vow to rescue the unfortunate maidens.
Scene 2: The Slave Market Amidst the bustle and barter the wealthy Seid Pasha turns up at the slave market to purchase beautiful young slave women for his harem. Lankendem shows off all of the fruits of his travels from foreign lands, and though he extols the beauty of captive maidens from Palestine and Algeria, the Pasha is not interested. Soon Lankendem presents Gulnare, who enchants the Pasha. Gulnare and Lankendem dance a Pas d’action (the Pas d’esclave). He then pays handsomely for her as she is carried off to his harem. But Lankendem has saved his greatest spoil for last - the beautiful Medora.”
The classical ballet Le Corsaire is one of the most powerful examples of the blatant fetishism, sexuality and in this case even exploitation that is most often thinly veiled by the classical ballet’s historical context of being a part of the distinctive performing arts. As the sex trafficker actors’ ropes wrangle the scantily clad dancers en masse during the ballet for inspection and delivery to the white slave traders and harem owners, the ballet is usually described simply as “Swashbuckling Escapism” (Evening Standard). THE RITA has thoroughly deconstructed the classical ballet and it’s related elements to the harsh noise project’s past involvement in the social abstraction of women’s form and this time Le Corsaire’s ties to the ocean and eventually women’s historical involvement in tragic and fatal Adriatic Sea shark attacks is culminated in a cacophonous and layered storm of abrasive sound. 
To achieve such parallels of story, rough edged shifting lines of sound, and vicious crunching landscapes of distortion, various esteemed colleagues were called into action to provide related audio sources (Caligula031, Climax Denial, Lingua Ignota, Ted Byrnes...)
Verse by Joe Lombardo
Medora: Altynai Asylmuratova, Alina Cojocaru 
Female Shark Attack Victims (Adriatic Sea): Agnes Novak, Carla Podzum, Mira Kudlich, Milena Scambelli
Ballet is Woman
1. Tutu with an Exposed Abdomen
2. Fatalities in the Adriatic Sea

THE RITA - Lilac Fairy (Urashima 2lp + inserts, poster)

Uma 118 THE RITA - The Lilac Fairy 2LP
Pygmalion carved a beautiful woman from ivory and when he kissed his statue’s cool white lips he found that Aphrodite had turned them pink and warm with life. From ephemera, from tulle and satin, THE RITA has assembled a fantasy woman; a ballerina, a fairy, a sex worker – violently she is animated into existence as a sonic monolith dense and menacing as Richard Serra’s looming steel. With the double LP set THE LILAC FAIRY, THE RITA reaches an apex of fixation on the dancer’s body. This obsession has grown simultaneously more focused and greater in scale; here the sonic object is not a dancer nor any of her parts, neither thigh nor ankle; THE LILAC FAIRY records the ritualized construction of a garment, THE LILAC FAIRY is a costume, a tutu empty of body altogether.  
Tutu meaning “ass” in some archaic French lexicon, tutu encircling the hips and extending up into a bodice from which the woman rises like a blossom, tutu projecting from the body as a frothy, diaphanous frame for the genitals, tutu echoing the frilly labial folds. The sanctity of ballet as elite aristocratic high art has always been a thinly-veiled facade for blatant eroticism, where women are interchangeable pieces of scenery arranged in colonnades for the pleasure of the male gaze. The Lilac Fairy herself was originally choreographed by Imperial Master Marius Petipa for his unskilled but beautiful daughter Marie as a mime part, but has been modified over the past century to become one of the most taxing characters in the female dancer’s repertoire, with a punishingly slow variation of repetitive steps that must all be executed without betraying any signs of effort or fatigue; in every iteration the dancer wears a wide and vacant smile. In the words of Prima Ballerina Assoluta Margot Fonteyn: “If audiences knew what pain the dancers were enduring, only people who like bullfights could bear to watch it.” 
THE LILAC FAIRY is a ricochet between fabrication and obliteration, degradation and ritualized exaltation. As the fantasy woman is assembled through the Total Fetish Object of the tutu, so she is reduced from personhood to the garment that encases and adorns her. The tutu is her Reliquary, to build it is both an act of worship and a proclamation of ownership. Only within the noise does she ascend, within the inimitable walls of THE RITA that choke every frequency, devour all and drown all, shatter every object. Everything is reduced to geometry, a cello attempts to accompany and is pulverized. Within the abstraction of harsh noise, THE RITA simultaneously brings to life and annihilates the Total Fetish Object, and in this performance of gestures she is elevated to the realm of non-objectivity, the Black Square of Malevich, Vessel and Void -- pure. 
Listeners would be wise to note that Sam McKinlay has transcended the trope of the romanticized cult of genius surrounding solitary harsh noise, and THE RITA is now half-woman, with the integral presence of Arlie Doyle as both the embodiment of the objectified form/performative feminine and collaborator in the sonic deconstruction of her own body. Additionally, THE LILAC FAIRY utilizes the contributions of several skilled craftspeople and musicians, with the tutu constructed by Katherine Hotmer and fittings to Doyle’s body performed by Rachel Hayward, Luke Tandy’s assiduous recording of the process of construction, and cello accompaniment by Leila Bordeuil. The sound that has made McKinlay a modern master of harsh noise remains intact, but the expansive critical and collaborative scope of THE LILAC FAIRY makes it a hallmark in the oeuvre of THE RITA. 
- Kristin Hayter 
The records have been pressed on 140 gr black vinyl with black label and black inner sleeve and comes in a deluxe silver silkscreen on black cardboard sleeve with artwork collage by  Sam McKinlay, limited to 199 hand numbered copies with six insert in black cardboard and silver ink and color poster.

THE RITA - Journey of the K-Verband (Throat Lure) (4iB Records 7")

JOURNEY OF THE K-VERBAND was recorded in the summer of 2011 and is the second chapter of THE VOYAGE OF THE DECIMA MAS.  The K-Verband was the WWII German frogman equivalent to the Italian Decima MAS; taking example from the Italian frogmen and their missions.  THE RITA has used the WWII frogmen theme as representative of the recordings, this time via sound sources from the miking of ocean fishing lures while jigging for Lingcod in the same areas snorkelled for the VOTDM source recordings.  The Traumatone underwater contact mics attached directly to the lures meant that every sound after the various Lingcod took the lure and mic inside their throats was captured for eventual further analogue manipulation.  With almost no trial and error, this technically ‘risky’ technique for picking up natural and violent source sounds turned out even better than expected between the initial taking of the mic and lure, the mic’d lure moving in the throat, and the eventual water surface splashing and the on deck removal of the mic’d lure from the fish’s mouth.
A natural extension between the idea of the VOTDM snorkelling source sounds, the sounds now come directly from Lingcod that occupy the waters just kilometres from the original snorkel site in Pender Harbour, BC, Canada.
Included with the release is an original illustration by BC First Nations artist Larissa Healey commissioned by THE RITA.

THE RITA - Sharks and the Female Form (Old Europa Cafe C30)

THE RITA’s limited audio cassette entitled "Sharks and the Female Form" includes lurid shark attack photographs and related inserts, torn women’s bathing suit evidence. 
Sharks and the Female Form looks at the aesthetics and patterns of a woman’s physical form violently and tragically manipulated by nature.
C30 white tape with red prints comes packed between 10 inserts and shreds of bloody female swimsuits.
Limited to 39 numbered copies.
2 long 15 minutes tracks both starting with some (for The Rita) non imaginable ambient sounds and speaking voices but turning fast into the usual Harsh Wall Noise for which Sam is well known world-wide.
The aesthetics and patterns of a woman’s physical form violently and tragically manipulated in the arts:
§ Painting 
“You have dared to torture the female who was so certain she would always be adored! You have scourged her, flogged her in all her pride; you have emptied her breasts, creviced her belly, blown up her buttocks, twisted her legs, battered her face! And over it all you have spread a noxious color, composed of all the reds of blood and the greens of putrefaction.” 
Coquiot on Rouault’s painting Two Prostitutes (1906)
§ Cinema 
“The verbal link between gorge (throat, bosom, breast) and egorger (to cut the throat, to slaughter) implies that the two inevitably go together: to see a breast is to want to cut a throat.” 
Colin Davis from Scenes of Love and Murder: Renoir, Film and Philosophy (2009) 
§ Literature 
“The great conical head struck her like a locomotive, knocking her up out of the water. The jaws snapped shut around her torso, crushing bones and flesh and organs into a jelly. The fish, with the woman’s body in it’s mouth, smashed down on the water with a thunderous splash, spewing foam and blood and phosphorescence in a gaudy shower.” 
Peter Benchley from Jaws (1974)

THE RITA - Raymonda (Elettronica Radicale Edizioni, Old Europa Café)

CD digipack with 12 page booklet. 

A conceptual follow up to Ballet feet position, that dwells more in pure harsh noise frontal assault.

"The Sleeping Beauty engenders a mixed message, riddled with paradoxes, about women.
Its ambivalences are connected as much to social class as to gender.
Its views of female beauty are double-edged: on the one hand, it speaks of women's beauty as partly consisting of power, intelligence, and agency, while on the other hand, it celebrated the beauty of purely feminine display. - Sally Banes"

For THE RITA, the classical ballet in the last few years has been an epiphany; a massive amalgamation of obsessive and fetishistic elements not unlike earlier interests and themes that have directly provided the structure for abrasive sound found in his past recordings.
Ballet themed recordings of THE RITA from the past two years have concentrated on the single ballerina, the development of the form translated via direct sources - the mic'd thigh, the pointe shoe, the ballet flat on the hardwood floor.
Slowly, heavily directed and building to a 'crescendo', the stage was set for the harsh noise contemplation of the multiple female dancers and the eventual stage productions of the turn of the century classical ballet, most notably the projects choreographed by ballet master Marius Petipa.  

From the 'Kingdom of the Shades' segment of La Bayadere, to the 'Danse des cygnes' of Swan Lake, to the 'Pas de six' of Sleeping Beauty, Marius Petipa was a master of staging the female form(s) in a time when the tights, pointe shoes and the revealing of the leg and it's expression via the tutu was prevalent in the classical ballet.
Petipa's esteemed examples of the art form aside, It's difficult to not try and contemplate the motives, manner and the direction of the classical ballet and it's grandiose staging of 50+ female dancers on stage when the ballet was still in the shadow of the 'ballerina-courtesan' trade of Vienna and of course the famous 'foyer de la danse' at the Paris Opera. 

Marius Petipa's masterpiece of multiple female staging for the THE RITA and these recordings is his ballet RAYMONDA (1898), most notably the 'Grand pas d'ensemble' which is a virtual gallery of ballerinas in the classical form, organized and choreographed to exercise beauty in numbers, to highlight the inherent power and grandiose nature of graceful movement in symmetry.
THE RITA's 'Raymonda (Stage Arrangement of Women)' recordings signify the mountainous nature of the aforementioned arrangements via heavily distorted layering of various Raymonda stagings cut into repeatedly with mic'd ballet pointe shoe ribbon and metal chain abuse.
The resulting sound is almost impenetrable, an avalanche of harsh noise that directs the listener back to THE RITA's CD works such as '1000s of Dead Gods' and 'Bodies Bare Traces of Carnal Violence', but this time with the massive study and focus of the staging of the classical ballet.
The material and it's accompanying booklet and imagery portray the inherent lasting voyeuristic fetishism of abstract female perfection first portrayed by the massively staged ballet works and tendencies of the late 1800s classical ballet 'Grand pas' or 'Ballabile' and it's power through movement in symmetry via more contemporary performances.  

THE RITA - Ballet Feet Positions (Elettronica Radicale Edizioni, Old Europa Café CD)

THE RITA’s new full length work is a complex work of obsessive research on discipline, elite beauty, and suffering in the world of Ballet.

The main piece of the album is a lengthy composition that starts extremely minimal with subtle textural sounds, interrupted by samples of actual ballet training sessions. Sounds slowly builds up in a over the top harsh noise machinery that brings Sam McKinlay’s classic trademark that crowned him as the godfather of harsh noise wall, with a monolithic build up of violence and intensity.
Second track is a power electronics rework of the the same sounds executed by Insubria hostile electronic unit CALIGULA031 that mixed all material with analog/modular sounds and in your face vocals, underlining different possibilities of textural processing.

Regarding the original sound sources, Vancouver musician, media artist, trained dancer Kelly Davis rigorously went through various feet positions and movements of classical ballet including ‘Battements’, ‘rotary movements’, ‘connecting and auxiliary movements’, etc. while a Traumatone contact microphone was rigged with a knee support brace to the side of her knee / thigh to capture the sounds of any hint of movement. The different chapters of sound were all repeatedly processed live by THE RITA as Davis went through her various positions and movements.

THE RITA’s recent use of extended samples as a single, conceptual release or as a building block of material is derived from the complete immersion in a topic found in earlier influences of WHITEHOUSE, TAINT, and OVMN, but also as an extension of his work with women’s singing and vocal work in the earlier THE RITA – ‘Womens Vocals’ LP. McKinlay finds that the totemic fetishism and the subtle resonances of the female voice as they describe the topic(s) help to bury the listener into all that is woman, especially as the samples shift into the symmetry of a female dancer’s recorded movement.

Co-produced by Elettronica Radicale Edizioni with Old Europa Café, limited to 300 copies, comes in digipack and 12 pages booklet with numerous pictures and unsettling text contributions by ex-dancer/writer Simone Paget and Marco Deplano (Wertham).