Sunday, January 07, 2018


Upcoming THE RITA shows:


Selected past shows:
2018 THE RITA, Torment is Flesh, High Water Mark, Portland, OR
2017 THE RITA, Ultra Metal, THOW, Denver, CO
2017 THE RITA, Outer Heaven, Victoria, BC
2016 THE RITA, Amplified Humans Festival, The "Old" Yellow Cab building, Dayton, Ohio
2016 THE RITA, Incubate Festival, Popcentre 013 Jupiter Stage, Tilburg, Netherlands
2016 THE RITA, XI Congresso Post Industriale, Club Kindergarten, Bologna, Italy (We acknowledge the support of the Canada Council for the Arts, which last year invested $153 million to bring the arts to Canadians throughout the country.)
2016 THE RITA, Squall, Kremwerk, Seattle, WA
2015 THE RITA (response to a Pietro Sammarco presentation), Unit/Pitt Project / Selectors' Records, Vancouver, BC
2015 THE RITA (supporting act for MK9), Vancouver (The Black Lab), Victoria (Intrepid Theatre), BC
2015 RICHARD RAMIREZ, THE RITA, Midwest / East Coast US tour: Chicago (Club Rectum), Detroit (Sanctuary), Cleveland (Now That's Class), Dayton (Skeleton Dust), New York City (Silent Barn), New York City (Palisades), Providence (Machines With Magnets), Philadelphia (Heaven's Gate), Chattanooga (Sluggo's)
2015 THE RITA, Vancouver Noise Fest V, The Black Lab, Vancouver, BC
2015 THE RITA (supporting act for PHARMAKON), The Fox Cabaret, Vancouver, BC
2014 THE RITA + Hannah Myrberg, Big Joy Festival, The Remington, Vancouver, BC
2014 THE RITA, Pent Up Fest, Josephine, Seattle, WA, USA
2014 THE RITA, Europe tour: Milan, Italy (O'), Genoa, Italy (Spazio Targa), Marseille, France (L'Embobineuse), Montpellier, France (Villa des Cent Regards), Toulouse, France (Les Pavillons Sauvages), Barcelona, Spain (Antic Forn de Vallcarca) (We acknowledge the support of the Canada Council for the Arts, which last year invested $157 million to bring the arts to Canadians throughout the country.)
2014 THE RITA, Dark Light Noise Fest, FFA Collective, Kamloops, BC, Canada
2014 THE RITA, galleryHOMELAND, Houston, TX, USA
2013 THE RITA, Big Joy Festival, The Remington, Vancouver, BC, Canada
2013 THE RITA, Milwaukee Noise Festival, The Miramar Theatre, Milwaukee, WI, USA
2013 THE RITA, SF Dissonance Party, The Lab, San Francisco, CA, USA
2013 THE RITA, Vancouver Noise Festival, The Black Lab, Vancouver, BC
2013 THE RITA, Sux by Suxwest 3, Club 1808, Austin, TX, USA
2013 THE RITA, Destroy Vancouver V (w/ Chris Corsano, Black Leather Jesus), VIVO, Vancouver, BC, Canada
2012 THE RITA, Send + Receive v14, Atomic Centre, Winnipeg, BC, Canada
2012 THE RITA, Noise! 2012, Open Space Gallery, Victoria, BC, Canada
2012 THE RITA, Pure Harsh Noise Worship, Ella Street Social Club, Portland, OR, USA
2012 THE RITA, Vancouver Noise Festival, The Rickshaw, Vancouver, BC, Canada
2012 COLUMN OF HEAVEN (w/ THE RITA), The Astoria, Vancouver, BC, Canada
2012 THE RITA, VIVO, Vancouver, BC, Canada
2012 THE RITA, Europe tour: Athens, Greece (Knot Gallery), Istanbul, Turkey (Peyote), Naples, Italy (Cellar Theory), Vittorio Veneto, Italy (Codalunga), Milan, Italy (Birrificio La Cruda) (We acknowledge the support of the Canada Council for the Arts, which last year invested $154 million to bring the arts to Canadians throughout the country.)
2011 THE RITA, Vancouver Noise Festival, 1067, Vancouver, BC, Canada
2011 THE RITA, HN.HC. Festival, Portland, OR, USA
2011 THE RITA, Neon Marshmellow Festival, The Empty Bottle, Chicago, IL, USA
2011 THE RITA, Suoni Per Il Popolo Festival, Casa del Popolo, Montreal, QC, Canada (We acknowledge the support of the Canada Council for the Arts, which last year invested $154 million to bring the arts to Canadians throughout the country.)
2011 THE RITA, Artist talk and video presentation, Blue Sunshine, Montreal, QC, Canada
2011 THE RITA, Noise! 2011, Open Space Gallery, Victoria, BC, Canada
2010 THE RITA, Europe tour: Paris, France (Les Instants Chavirez, Le Rigoletto w/ Zbigniew Karkowski, EVIL MOISTURE), Kortrijk, Belgium (The Pit's), Offenbach, Germany (Waggon), Tilburg, Netherlands (Kunstpodium T), Copenhagen, Denmark (Mayhem), Hamburg, Germany (Hor-Bar), Berlin, Germany (NK), London, England (The Grosvenor)
2010 THE RITA, Super Happy Fun Land, Houston, TX, USA
2010 THE RITA (supporting act for BASTARD NOISE and THE ENDLESS BLOCKADE), Montreal, QC, Toronto, ON, Canada
2010 THE RITA, Noise! 2010, Open Space Gallery, Victoria, BC, Canada
2010 THE RITA, Fake Jazz Festival, The Western Front, Vancouver, BC, Canada
2010 THE RITA, Clamour and Toll: Church (an Or Gallery event), The Anza Club, Vancouver, BC, Canada
2010 THE RITA (supporting act for THE ENDLESS BLOCKADE), The Rickshaw Theatre, Vancouver, BC, Canada
2009 THE RITA, The Sinking Ship, Vancouver, BC, Canada
2009 THE RITA, Trauma Tone Festival, Rearview Mirror, Toronto, ON, Canada
2009 THE RITA (supporting act for Zbigniew Karkowski), The Western Front, Vancouver, BC, Canada
2008 THE RITA (performance, lecture, workshop), Alternator Gallery, Kelowna, BC, Canada
2008 WALL RIDERS (featuring THE RITA, TASKMASTER), Noise! 2008, Open Space Gallery, Victoria, BC, Canada
2008 THE RITA, THE VINTAGE TWO-STROKE DIRT BIKE ENGINE AS A SOUND GENERATOR FOR HARSH NOISE, Antisocial, BC, Canada (We acknowledge the support of the Canada Council for the Arts which last year invested $11.8 million in media arts throughout Canada.)
2008 THE RITA and Christian Nicolay, AMPLIFIED AND EFFECTED SKATEBOARD LEDGE/RAILING (Video presentation), MOVE>SOUND: Soundwave>Series Season ((3)), The Lab, San Francisco, SF, USA
2008 THE RITA (supporting act for WOLF EYES), Victoria, BC; Vancouver, BC; Seattle, WA
2008 EDWIGE (featuring SEWER ELECTION, KAKERLAK, THE RITA), No Fun Fest, The Knitting Factory, New York, NY, USA
2008 THE RITA, East Coast US tour: Philadelphia, PA to Portland, ME, USA
2008 THE RITA, VIVO, Vancouver, BC, Canada
2008 THE RITA, Reed College, Portland, OR, USA
2008 THE RITA, The Empty Bottle, Chicago, IL, USA
2007 THE RITA, & Loan Gallery, Nanaimo, BC, Canada
2007 THE RITA, Splinter Squid Affair IV, Seattle, WA, USA
2007 THE RITA, Japan tour: Tokyo (Show Boat w/ INCAPACITANTS), Nagoya (Tokuzo), Osaka (Bears w/ GUILTY CONNECTOR), Japan (We acknowledge the support of the Canada Council for the Arts which last year invested $11.8 million in media arts throughout Canada.)
2007 THE RITA, Noise! 2007, Open Space Gallery, Victoria, BC, Canada
2007 THE RITA, No Fun Fest, The Hook, New York, NY, USA
2006 THE RITA, DIVA, Eugene, OR, USA
2006 THE CHERRY POINT (featuring THE RITA), Wooden Octopus Skull Experimental Musick Pfestival, Seattle, WA, USA
2006 THE RITA, Video In Studios, Vancouver, BC, Canada
2006 THE RITA, West Coast tour, Vancouver, BC to Austin, TX
2006 THE RITA, 1067 Club, Vancouver, BC, Canada
2005 THE RITA, 1067 Club, Vancouver, BC, Canada
2005 THE RITA (harsh noise "performance"), San Francisco Harsh Noise Festival, Edinburgh Castle, San Francisco, CA, USA
2005 THE RITA, Noise! 2005, 50/50 Arts Collective, Victoria, BC, Canada
2005 THE RITA, 1067 Club, Vancouver, BC, Canada
2005 THE RITA, Blim Gallery, Vancouver, BC, Canada
2005 THE RITA, 2005 Portland Noise Festival, Reed College, Portland, Oregon, USA
2004 THE RITA (with members of HOSPITAL and GOATSBLOOD), Video-In Studios, BC, Canada
2004 THE RITA, Christian Nicolay, and Eli Bornowsky, The Western Front, Vancouver, BC, Canada
2003 HOSPITAL (with THE RITA and members of GOATSBLOOD), University of British Columbia, Vancouver, BC, Canada
2002 THE RITA, Ms T’s Cabaret, Vancouver, BC, Canada

2017 Sam McKinlay, Non-Music Composition - A Workshop for Sound Artists with Sam McKinlay, Red Gate Revue Stage, Vancouver, BC, Canada
2011 Sam McKinlay, Starting Point, Lake Country Art Gallery, Lake Country, BC, Canada
2008 Sam McKinlay, Noise/Art (curated by Thurston Moore), KS Art, New York, NY, USA

Tuesday, November 07, 2017


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

TOTAL SLITTING OF THROATS (DOD-ecaphony reissue c66)

THE RITA / FRIGHTENED MOON - The Invisible Woman (Fusty Cunt c30)


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.

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. 


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).

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

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).

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

Wednesday, September 13, 2017


Archaic Triad INTERVIEW with THE RITA from September, 2017. 

Discorder live REVIEW of PHARMAKON with supporting acts THE RITA and MASS MARRIAGE February 21, 2015 @ The Fox Cabaret in Vancouver, BC.

Detailed account of the 'Queen Sheets' collaboration with sculptural artist Megan Miller at

Heathen Harvest REVIEW of the THE RITA 'Ballet Feet Positions' CD on Old Europa Cafe and Elettronica Radicale Edizioni.

The Rita at Milwaukee Noise Fest 2013 (Day 2: 8/23/13) from Bullart. on Vimeo.

THE RITA is featured in the AN ANTHOLOGY OF NOISE & ELECTRONIC MUSIC #7 - Seventh and Last a-Chronology 1930-2012 from the label Sub Rosa.  More details and purchasing information of the 3CD digipack + 84 page booklet is available HERE.

Year In Suffering REVIEW of the PRURIENT / THE RITA 'Women Pissing' 7" on Fusty Cunt Tapes.

Brainwashed REVIEW of THE RITA 'Dark Angled Eyebrow' 7" on Amethyst Sunset.

Photographer Steve Louie's PICTURE AND REVIEW of THE RITA at Vancouver Noise Fest 2013.

Emotionally Voided REVIEW of the THE RITA 'The Rack' CD on Handmade Birds Records.

LIVE FOOTAGE filmed May 3/12 at Birrificio La Cruda (Milan, Italy).

Reviews from Neon Marshmellow, Empty Bottle, Chicago, 2011:

"The Rita was, along with Sickness and a few others, one of the few full-on noise acts this year, and inarguably the loudest and most physical. While Sickness attacked from several different sniper towers at once, The Rita's Sam MacKinlay shot the audience with riot cannon-grade audio intensity from the front, his multiple distortion pedals and fierce crackling textures filling body and mind through the augmented Bottle sound system. One could feel the sonics seeping up through the feet, while the face-forward attack was so potent, I felt myself bending backward like bamboo in a gale-force wind. Jumping back and forth between prickly popping noises and cascading sheets of timbrally precise static layers, The Rita live experience does exactly what it says on the can: it's harsh noise for people who like harsh noise. If you were a guy of roughly my height and build at the venue that night, you were probably last seen grinning ear to ear around this time, saying things like "that set made up for all of Friday!"

- Chris Sienko, Gapers Block

"The melody-driven world would soon be left behind though, in favor of sheer, opressive harshness, thanks to The Rita. Sam McKinlay’s noise may have been the single loudest thing I’ve ever heard, so loud that it’d be difficult to pin down an adjective to describe exactly how loud it was. Troublingly may be the closest. The rumbling howl made the room seem like it was about to crumble to pieces, my whole body shaking from the mass of it. When individuals describe things as a “wall of sound”, this is exactly what they mean. The whole thing was impenetrable, unmoveable. Some people left the room as quickly as possible, a disgusted frown on their faces, while others eagerly moved as close to the stage as they could, fists pumping. At one point, McKinlay reached for a folding chair to sit in, but the aggressive destruction of the event made me assume he was going to start smashing it against his synthesizers and pedals.
Composer/electronic music pioneer Morton Subotnick walked onstage, offering McKinlay a cheery handshake before beginning his setup."

- Adam Kivel, Consequence of Sound

Video HERE.
VIDEO SAMPLER of the Pointless Blank THE RITA 'Retrospective' DVD.

Spectacular Optical INTERVIEW with THE RITA.

Yellow Green Red INTERVIEW with THE RITA.

Reviews from RUSTED SHADOWS and MUSIQUE MACHINE of THE RITA and guests from the Nov. 19/10 show at The Grosvenor, London, England.

Pitchfork REVIEW of the RETROSPECTIVE DVD from Pointless Blank.

LIVE FOOTAGE filmed May 21/10 at Open Space Gallery (Victoria, BC).

LIVE FULL FACE MASK & SNORKEL FOOTAGE filmed Mar 25/10 at The Western Front (Vancouver, BC).

Musique Machine INTERVIEW with THE RITA from 2007.
Musique Machine INTERVIEW with THE RITA from 2010.

LIVE FOOTAGE filmed Feb. 22/07 at Pub 340 (Vancouver, BC).

Wednesday, August 20, 2014


Agnes Letestu (Paris Opera Ballet)

Pacific Northwest Ballet

Clairemarie Osta (Paris Opera Ballet)

Ariana Lallone (Pacific Northwest Ballet)

Tatiana Terekhova (Kirov Ballet)

Svetlana Zakharova (Bolshoi Ballet)

Francesca Podini (Teatro alla Scala Ballet)

Eve Grinsztajn (Paris Opera Ballet)

Veronica Tennant (National Ballet of Canada)

Marianela Nunez (Royal Ballet)

Alina Cojocaru (Royal Ballet)

Ludmila Pagliero (Paris Opera Ballet)