The Rita/Dead Body Collection - split 7" [Peripheral Records/Schizophrenic Episode Si - 2013]
This seven-inch distills two very famous names in HNW down to around five minutes each - not a duration that either is too well-acquainted with! Both The Rita and Dead Body Collection should hopefully be recognisable to you, as quality wall practitioners and the two labels involved do them proud; presenting a very professionally put together package. The stark, back and white design, features lots of photographs of stockings - in myriad forms; as well as one picture of some frogmen carrying out a raid, using manned torpedos: both themes which should be recognisable to fans of the two projects. Both acts get a side each of black vinyl, to work their magic. (According to the “Discogs” website, the vinyl was unfortunately incorrectly stickered; with each side labelled as the other project’s side…)
“SLC Engine Decima MAS” is the offering from The Rita. It begins with an odd, warbling tone; which largely lies murkily buried, under grainy crackle, with moments where it concentrates and rises forth. After a short while, this cuts to staccato chunks of rough, skipping textures; before opening out again into an agitated wall with many layers. Its an engaging end to an engaging piece. Five minutes is really not a long time, for HNW, but The Rita’s track makes very good use of it. Flipping over to Dead Body Collection’s “Morte, Amore, Morte”, we have an equally fine piece of work. It begins with stuttering, scuffing textures, split between the speakers; with one more kinetic than the other. After a few minutes, the more measured channel explodes into grittier life, before breaking even further open; by which point, the opposing speaker is concentrating on a limping, lurching, low-end crawl. Its not the usual rush and blast that we might expect from Dead Body Collection, but its a very effective, even creepy, wall.
I must admit to having mixed feelings on HNW seven-inches - I’ve always liked the format itself, but the restricted duration would seem to be incongruent with some of the virtues of a wall. However, both artists sturdily dispel such thoughts, here; with pieces that make no concessions, but display the best qualities of HNW. Indeed, one of the “pleasures” of a seven-inch is constantly flipping it over and over, replaying it and that very act, here, concentrates the listeners mind very well on the decisions that the two projects have made. It promotes a notion of active engagement with HNW, rather than a more detached “zoning-out”. So, given the visible availability of this release, its pretty much to be considered compulsory purchasing…Martin P