‘’Here we have The Nylons of Laura Antonelli, a multi-item release by The Rita, Sam McKinlay. The version you have here is its third issue. This release is the sound of different models of nylon for legs used according to Sam’s own purposes.
If filled with a spirit of non-literalism, what is “Laura Antonelli”? Forward movement-wise I think of it as a series of inhibitors of varying volume. You can conceive of silence being the underlying reality on this release, and it allows you to feel each cell of the nylon fabric for what it is, which is basically a player in an offensive line guarding the object, the leg. Each sound could be received as a tiny scrum with the mic or the hand and the nylon.
The dimension (paradoxically) is added by the flatness of the nylon. What in forward movement is received as a struggle along tiny cells is properly interpreted when considering both forward movement and thickness of contact as a rappel against the flatness of the nylon. It’s each of these things at once continually for the length of the release.
It’s perfect. The sound and duration are perfect. It’s impossible to stop thinking about the paradox I described. Everything I said in the last two paragraphs is everything I feel about “The Nylons of Laura Antonelli,” excepting the content of this paragraph. When something is perfect and there is a finite amount to say, that’s what you say, and this paragraph, where I describe the recordings as being perfect, is also necessary, and terminal. Sound work is unique and necessary and it provides a result that is affectively different from everything else.’’
Gabrielle Losoncy, 2019
Ten years after its first release in an eight-cassette box, The Rita’s masterpiece The Nylon of Laura Antonelli is reissued in a black wooden box with laser engraving that includes 4 CD wallet with full color artwork, original 2009 insert, a foldable color poster and a certificate numbered in 300 copies.