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Where do the flies go at night? – BAG 02

€25,00

title: WHERE DO THE FLIES GO AT NIGHT? (MAM02, 2019)
author: NATASCHA GANGL & RDEČA RAKETA
format: bag & download code, lino print
super limited edition / 30 pieces
drawing, design & lino cut: Maja Osojnik

SKU: N/A Category: Tag:

MI CORAZÓN / NATASCHA GANGL & RDEČA RAKETA (MAM 02 – 2019)

MAMKA RECORDS publishes with MAM#02 – MI CORAZÓN the second extraction from the sound-comic WENDY PFERD TOD MEXICO (#neon-western #audio-diverse #sound-comic). After the first single release “CHICKEN”, a punk mescaline ride on Afro-beat, over-polished, low-fi audio files, under the blaze of the desert sun, it’s now onto the shady and the melancholic.

A-Side: Where do the flies go at night? (5:07)
Lyrics: Natascha Gangl
Music: Rdeča Raketa (Maja Osojnik & Matija Schellander)
‘Where do the flies go at night?’ is contemplated by the track, relentlessly. A slow beat by Rdeča Raketa pushes the question forward. At times, with a dub approach, a morbid trance unfolds and, with it, spoken word. That is, until Osojnik’s aerial vocals set in and coax us into a dreamlike state, like a newborn to a lullaby. Where do the flies go at night? The music gets caught up in a swirly loop, like a continual longing, and the desire is frozen in the horrible suspension of transience. Where do the flies go at night? The question remains unanswered. A homage to the cryptic and magical realism of Mexico.
B-Side: Mi Corazón (4:55)
Lyrics: Natascha Gangl
Music: Rdeča Raketa (Maja Osojnik & Matija Schellander)
Señores y Señoras / Mi corazón / My heart is as black today as the night / It wears the same dress / It airs it out / When dancing / And wears nothing under it / Mi corazón / My heart /  It wears nothing underneath … is sung in this song, which exposes its magnitude of multilayers. Gangl’s poetic language-fragments wander into the meticulously dispersed drones of Rdeča Raketa, created by double bass and voice. The language dissolves into feedbacks and resonances, throws waves on which clusters and chorals float. We think of Alvin Lucier’s “Sitting in a Room” and swing with the tribal fragments of his own emotional utopia in Osojnik’s beguiling siren sighs. Alas, a song like a lighthouse.

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