title: MI CORAZÓN (MAM02, 2019)
author: NATASCHA GANGL & RDEČA RAKETA
format: Vinyl Single – 7’’ & download code, lino print
cover drawings “cocktus”: Maja Osojnik & Natascha Gangl
graphics & linocut, print: Maja Osojnik
recorded & mixed 2019, Rdeča Raketa
mastered 2019 by Martin Siewert
Wendy, horse, death, Mexico, loss, battle, violence, tenderness, discipline, dream.
Language beomes sound, and sound becomes language. Out of the fragmentary, the density is weaved. From the depths of the fragile, the whole is born. Time structures are questioned and assembled through loops. Field recordings from Mexico meet Osojnik’s singing. Spoken language turns into melodies, while noise turns into bittersweet rancheras.
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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REVIEWS:
Cojones! Now with the second single from their award-winning audio piece, the trio Gangl, Osojnik and Schellander makes a brilliant, genre-spanning reflection on contemporary pop. The depicted madness and poetic counterpoint of Gangl’s already robust textual basis, multiplies itself through tonal embedding via the musical powerhouse Rdeča Raketa, further into unimagined and desolate altitudes. In these domains the air is thin and while few have the necessary know-how and stamina to penetrate them (at great risk, at that), the Wendys have settled in very well on their own 8000-meter peak, and simply hop to the next summit as soon as they become bored with the one their at. How to best fish the Lord of the flies? With a small, fragile heart as bait, of course! With “Mi Corazón” and “Where do the flies go at night?”, the trio takes another step on the path to reviving and popularizing the format of the radio play, which has largely been forgotten by society. In this regard, Wendy is the first sound comedy to reach a cultural milestone which future ones will look back to and and take from. Fly fishing with heart. Patrick Wurzwallner (Freistil, Mica)
Natascha Gangl und das aus Maja Osojnik und Matija Schellander bestehende Duo Rdeča Raketa sind mittlerweile ein eingespieltes Trio mit einem umfangreichen ideellen Korpus an Material. Dieses existiert als stetig erweiterter und modifizierter hörspielartiger Soundcomic mit dem Titel “Wendy Pferd Tod Mexico” in einer imaginären Cloud, und gelegentlich werden Auszüge daraus aufgeführt, oder sie finden ihren Weg auf Vinyl. “Mi Corazón” ist die zweite 7″ der Formation und schon auf den ersten Eindruck hin homogener als ihre Vorgängerin, da beide Tracks dronig-ambient ausgerichtet sind und diesen Sound wie einen luftigen Trenchcoat um die poetischen, in Spoken Words vorgetragenen Texte legen. Zu holzigem Klopfen und etherischem Gesang lullt der mantraartig wiederholte Titel “Where do the Flies go at Night?” die Hörerinnen und Hörer wie das im Verlauf des Textes genannte Neugeborene in einen sanften Schlaf, der allerdings zum Schauplatz einiger schräger Soundturbulenzen wird, die knapp, aber ambivalent am Alptraum vorbeischlittern.
Das Titelstück scheint textlich näher (oder offensichtlich näher) an der Rahmenstory mit seiner Gesichte über Pferde, über Mexiko und diverse Verlusterfahrungen zu sein. Anagrammatische Satzspielereien erklingen zu celloartigen Drones, und auch hier, im verschwimmenden Kanongesang und der anheimelnden Melodie einer Spieluhr klingt die kindliche Traumwelt an, die um so fragiler wirkt, da sie in eine Welt getaucht ist, in der Verspieltheit und Schwermut, lichtdurchflutete Abenteuer und schwarze Herzen in bewegten Bildern überblendet werden. Uwe Schneider für African Paper
