#PaganSongOfTheDay AUGUST '17

Beats

FebruaryFavs18

last recorded set at kater holzig . 3/1/2014 (snippet)

Miämi   Floor Kater Holzig 3 1 14

Foremost international techno outlet Drumcode is delighted to announce the release of its next full-length album, ‘Satellite’, by enduring Italian techno talent Sam Paganini.

Though he has been active since the mid nineties, recent years have been hugely successful for Sam, with searing techno EPs coming on revered labels such as Riche Hawtin’s Plus8, Sven Vath’s Cocoon and of course, Adam Beyer’s Drumcode. In his time he has been responsible for underground hits like ‘Zoe’, ‘Polyester’ and ‘Fire In My Arms’, all of which demonstrate his dynamic understanding of sexy, dark and hypnotic techno grooves and at the same time have earned him plenty of great Beatport chart positions as well as respect from the best in the game.

Incredibly, ‘Satellite’ is Sam’s first full-length album. Informed by his DJ gigs at legendary places like Berghain in Berlin and Cielo in New York, the album starts with a dystopian bit of sonic scene setting, as if a space ship is charging up ready to take off.

From there it’s a case of getting straight down to business. ‘Another Chance’ is a spacey bit of cantering techno and ‘White’ is rooted in devastating kick drums and is riddled with serrated synth lines that build lots of great techno pressure. ‘Down’ is an undulating bit of funky techno complete with choice vocal flourishes and tracks like ‘Lotus’ are prime offerings from the deeper end of the scale.

No two tracks sound the same on Satellite: Sam is always teasing out a new bit of texture, nailing a slightly different vibe or exploring different amounts of light and dark throughout the course of this most excellent album. This is evidenced by diverse cuts like ‘Dusty’, ‘Toxic’ and ‘Rave’.

Despite ‘Satellite’ being Sam’s debut album, it showcases his seductive style in all its glory across 12 fantastic tracks that will leave you begging for more.

Sam Paganini - Rave - Drumcode - DCCD10

Lolita - Cocaine (Instrumental)

Long Distance Is Always Such A Pain 
Missing You Every Single Day
Think About The Love That You Gave
Don't Worry We're Gonna Find A Way

Always Finding A Way

Someday We'll Be In Each Other's Arms
Hold You So Close Just To Keep You Warm 
Miss You Been Missing You So Much
Don't Worry We'll Always Have This Love 

Casino Hearts-Long Distance

Ex Head is released on Feb 26th on Leisure + District Records.

Digital and 7" from iTunes, Bandcamp and Spotify





Ex Head

Hang Me High

'Dear Jackie' by Gen Pop is taken from the band's debut 7" out on Upset The Rhythm this September 15th! This is also Upset The Rhythm's 100th release!

Available to pre-order now: http://upsettherhythm.bigcartel.com/

Four voices tousle loudly as they leave the soft realm of the body, venturing out into the world. Reproduction and traditional instruments (guitars, drums, samplers, digital, voices) allow the human generation to play right now. Playing is intersubjective, we appeal to consciousness. Here in the human era we dialog, reference, and reproduce with traditional reference and frustration. Kissing lightly decided harmonies, Gen Pop plays in the human generation and is from the human era. Playing used in its most remedial sense, an occasion to slap together a narrative and generate trust between each other. 

Gen Pop produced a small run of tapes featuring 3 tracks from their debut 7” on Upset the Rhythm earlier this year.  This 7” brings to totality the sinews and olfactory system of the Gen Pop promo tape. The essence of what they are doing and not the end of it. The first track ‘On Screen’ whinges lackaday about screen oriented living. “I’ll be chained and beaten, in a motel room its our first time meeting” shoots the moon for the loneliness of access and an end to curiosity (good riddance). Honestly though, a screen can and will be held by all. 

The product of exposure can be found in ‘Easy’, the ballad of confused ability. The lacing of MaryJane Dunphe’s noise guitar, brought back to life from her days in Polly Darton, meld with David Strother and Theo Maughan’s air tight rhythm section. Ian Corrigan, playing 2nd guitar, and Dunphe vocalise together in frustration, this all should be quicker, easier. Corrigan and Dunphe played together previously in Olympia, WA’s maelstrom of punk and passion known as Vexx (also released through Upset The Rhythm).

‘Teach Me How To’ peaks in winding energy, standing tall as a pinnacle of frustration and excess. “The poor need lessons, they’re far too crude, but what about your life? Have you known rot tooth” Dunphe cries in resistance to plutocracy and vapid hegemony. Access will be had by all, but not until the human era is over and the internet is a human right. In ‘Dear Jackie’ simple harmonies on the guitar lap lightly at the toes of a bulky thick rhythm section that is strolling late night on the beach. Each note that Dunphe and Corrigan hit are planned to harmonise, intention over expression. Strother’s voice digs deep into choosing, choosing an ending, his pummelling drums and margin walking sense of genre helps the band approach a more lighter sound. 

Finally, closer ‘The Wall’ can speak for itself. “I know, we’re guilty, these eyes so milky,” the powerless individual’s eyes cataract while watching an indigenous land be divided by a white contingency. And if its called white supremacy they might as well “ take my head and turn it clockwise”. Needling guitar parts crescendo into a furious finale, reminding all that Gen Pop as one of the last human bands are trying twice as hard to keep ahead of the future.

'On The Screen' EP

Gen Pop - 'Dear Jackie'

‘Recompiled I/II’ is the first of two vinyl-only archive releases by Function on A-TON, which include previously unreleased tracks as well as music that has long been out-of-print. ‘Recompiled II/II’ is scheduled for release in October 2017.

A-TON is a new edition and platform of Ostgut Ton, focussing on ambient, archive and alternative music, differing from the club-focussed records on the main label.

“I remember in the early ‘90s when the music was changing so rapidly and it felt so revolutionary, separating my records into piles and thinking ‘I need more of this – there needs to be more of this kind of record.’”

Function | Disaffected

Ostgut Ton | A-TON | unterton