Wednesday, April 26, 2017

AVAILABLE FROM LAKE SHARK HARSH NOISE

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.
SOLD OUT FROM LSHN

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.  
SOLD OUT FROM LSHN



THE RITA - Gamzatti (Total Black lp + booklet, poster, photo prints, insert)


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.
SOLD OUT FROM LSHN

AN INNOCENT YOUNG THROAT-CUTTER / THE RITA - Wide Eyed in the Dark (4iB Records CD)

THE RITA - Enamel Lapel Pin (approx. 1 1/16" x 1 1/4", New Forces)

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. 


EDWIGE - Edwige (Urashima lp + poster)

Uma 119 EDWIGE  LP
The intrinsic fandom tendency toward Eurotrash actress Edwige Fenech has possibly been one of the most encompassing examples of ‘obsession’ translating into layers of pummeling abrasive sound, especially in the building block heyday of the heavier OVMN and Incapacitants inspired style of International contemporary early 2000s harsh noise artists.  EDWIGE FENECH – just the name sends the educated into a whirlwind of her cinematic stylizations, objectification, and glorious portrayal and generator of mandates for various Eurotrash genres. 
The inconceivable layered work with Rosalba Neri in THE SEDUCERS.  The cropped model shoot hair and painted skin of WHAT ARE STRANGE DROPS OF BLOOD ON THE BODY OF JENNIFER.  The awe inspiring bobbed haircut and mannerisms of GENTLY BEFORE SHE DIES.  The sex worker apparel and curly blonde wig from TAXI GIRL.  The slicked and pinned back hair and nylon worship of DR. JEKYL LIKES THEM HOT.  The crew cut haircut and bare feet glimpses from STRIP NUDE FOR YOUR KILLER.  The 70s wavy, curly hair and the stockings during the sultry couch scenes from LOVER BOY.  The courtesan role intense leg worship and playful mannerisms of GIOVANNONA LONG THIGH.  The sun-tanning and fetish exercise programs of VICES IN THE FAMILY acting alongside Susan Scott.  The medieval maiden and mistress aesthetic of UBALDA ALL NAKED AND WARM.  
The examples and details listed above can be watched and mentally layered to achieve a generative aesthetic that pushes the visceral tendencies of the abrasive sound artist.  Not unlike the pornography and the extreme lifestyle fascination of the 1990s Americanoise, the interests continued to be deconstructed and melded into harsh noise as the conscious and studious harsh noise artists of the 2000s continued to study the European cult film and its objectified actresses and fetish driven aspects.  The experience is cumulative the more you watch, collect, and study the various genres that Edwige Fenech was featured in and that inspired the cumulative and layered aspects of the harsh noise project Edwige with the original line-up of Keith (MANIA), myself (THE RITA) and Dan Johansson (SEWER ELECTION) and later Nolan Throop (KAKERLAK) filling in for Keith on a 2008 American tour.   Between the sets on the 2008 tour from myself, SEWER ELECTION, KAKERLAK and DOG HOLOCAUST (Nolan and Dan – maybe the loudest thing I have ever heard), the 90s rough American style harsh noise worship was palpable.  It’s only natural that a tape was generated as exemplary from the tour days of 2008 including later collaborations with the eventual line-up of Dan Johannson, Nolan Throop and myself.   
Now available on vinyl from Urashima.  
- Sam McKinlay
The record has 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, limited to 199 hand numbered copies w/ black & white poster.


THE RITA / MOISTURE DISCIPLINE / ANONYMOUS MASTURBAUDIOUM (Ominous Recordings c60)


THE RITA / SUCTION MOLENA - Roman Facesitting LSHN edition (Lake Shark Harsh Noise #09)
Standard LSHN [OEC / Slaughter style] double-sided card cover in a ziplock bag. 
Pro-tape split c40, LSHN edition of 50 (#1 - 50), Custom Body Records edition of 50 (#51 - 100).

THE RITA / POWER MONSTER - Basque Into Tights [Odile] (Signora Ward Records c30)

CALIGULA031 T-shirt (LSHN)
Professionally printed, durable 10oz 100% cotton, size XL

THE RITA T-shirt (LSHN)
Professionally printed, durable 10oz 100% cotton, sizes M, L

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

GAMZATTI / RAYMONDA High quality woven patch (3.5" x 3.75")

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).

https://soundcloud.com/wertham/sets/the-rita-ballet-feet-positions
https://elettronicaradicale.bandcamp.com/album/the-rita-ballet-feet-positions-cd
http://www.oldeuropacafe.com/



Contact lakesharkhn[at]gmail[dot]com for availability, postage rates and payment information.