Canadian noise veteran Sam McKinlay takes a cerebral approach to much of his output as The Rita. From his breathless odes to women’s stockings, to his giallocinema homage, he also brings an obsessiveness to his work that few are willing or able to. The austere beauty, discipline, and strict physicality of classical ballet makes for natural subject matter.
Ballet Feet Positions, co-released by Old Europa Café and Elettronica Radicale Edizioni, comprises of two tracks, the first of which spans an exhausting thirty-eight minutes. In it, the sounds are derived from the contact-miked legs of trained dancer Kelly Davis, the output from which McKinley has processed in real-time. Initial sounds in the early part of the track are fairly innocuous and somewhat tedious to these ears, but the sounds themselves are clearly not the point. They are fragile and scratchy, speak of bones and bruises, and evoke the strength and fragility of the human body.