Carlos Giffoni / The Rita - Two on a Match

No Fun Productions
(nfp38: )




Limited to 300 copies. The ongoing study and execution of harsh noise by driven artists constantly reinstates the medium via different techniques, concepts, and different artist amalgamations for a collaborative work. For myself, working with the different 'warbling' and generative moving lines of modular synth from Carlos Giffoni offered me a chance to investigate many different 'spaces' of tone and line manipulation. Manipulating and playing with escalating and dying tones that all the while keep a throbbing pace was something that I always wanted to work with being a fan of the jutting and tremolo-like rough 'wave' tones of harsh noise artists from Aaron Dilloway/Spine Scavenger to Atrax Morgue. The opportunity of working with the sources of Carlos Giffoni was exciting as I got to manipulate 'dirty' and constantly moving cutting modular synth electronics, the challenge being making the lines articulate with something of THE RITA's hiss and pedal driven nature. The examination and crossing of the different LINES slowly become their own parallel entity as the adjoined and wavy synth lines are further dirtied, cut repeatedly, and joined with the knife of 'gated' and cutting HN pedal work. Not unlike the manipulation of the textural, rough, and linear landscape pieces of Richard Longs mixed with the 'chopping', yet smooth lines of Donald Judd's installations. Both exude the same amount of power, but via very different textural 'lines' of installation. To further manipulate and display the different lines and HN stylizations, Giffoni had the opportunity to heavily edit the textural work of THE RITA to exude the constantly moving and jutting sense of Giffoni's own pulsing and driving synth decay via the dirtied analog source material of THE RITA. Modular snyth and pedal work have been long standing tools in the world of harsh noise, but not often are they crossed over with such investigative and crackling tendencies – a virtual criss-crossing of the different technical lines. - Sam McKinlay (THE RITA)

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