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   Sanagi: Mish Mash: Presscuts

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Release Date: 15.09.2006
EAN/UPC: 705304801826
TT Catalogue No: 4492
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  • "When you find yourself singing along to a song without really wanting to, it’s pop. And if you don’t even care that your evil neighbor from downstairs happens to like the same song, that’s pop too. Pop is the common denominator that doesn’t inevitably have to be insipid. Besides being popular, pop can be innovative, as in Berlin-based newcomers, Sanagi. This duo met in Liverpool while studying its local pub-club topography, and then moved „no question about it!“ to Berlin. Here is where the debut album was made, mixing a little madness la Bjrk with a portion of early MIA acid and Prince-like eccentricity. Then put it all into a blender and push the Deee-lite button. 3.30 minutes later – it’s done and what comes out is „Mish Mash“, the first longplayer by Norway’s Lene Toje and Robin Sato from Japan. Sanagi are - speaking in terms of music - kicking quite a bit over the traces. Which is fine, considering that you have to be prepared to stick your neck way out there if you really want to leave tracks. At KenFM for example. Sanagi turn iPod into iPop."
    Ken FM , CDs of the month, September 2006

  • "Some music is so beautiful that words even fail a professional music critic, miserably, to describe the state of listening experience it invokes.
    And that’s just what the band Sanagi have managed to do with their debut album „Mish Mash“, and I’m grasping for words. For my composure. For everything. I’ve been completely pulled into this electronic duo’s world, the world of Norwegian Lene Toje (vocals) and partner Robin Sato (electronics), who grew up in Japan. So it is actually quite fitting that the name Sanagi means cocoon in Japanese, because that’s exactly what listening to this record makes you feel like. It wraps you up and transports you into its own beautiful world. It gives you comfort, relaxation, and contentment. If you let it. And you should take the time to do exactly that.
    Of course the first thing that comes to your head when you give these songs a quick listen is the glorious days of trip-hop from the mid-nineties. Bands like Massive Attack, Portishead, and the enthralling dramatics of Ruby. Bjork’s „Debut“ and Tricky’s first solo record are what immediately come to mind. But if you take the time and have the right state of mind to really delve into it, there are simply no comparisons. I have seldom heard such a diversified album that consistently remains true to itself and its style, peppered with such wonderful humor to boot, like in the song „Pippi“ (Longstockings). It would even make Astrid Lindgren laugh.
    "Mish Mash" combines minimal electro, house, pop und hiphop, each in its quintessential form. And Lene’s voice gives the whole thing an incomparable uniqueness. The two of them are apparently having a lot of fun in their world, and to keep it that way, they’ve taken up camp in Berlin, nurturing the hope that we’ll soon have the pleasure of experiencing them live on stage in our city. And if this doesn’t happen in spite of all our wishful thinking, we still have „Mish Mash“ and the hope that we won’t have to wait all too long for the next album. But what am I rambling on about here. Listen to it. Enjoy it. Be glad. Laugh again. We’ll keep you posted." [Ah]
    o3o, September 2006

  • "We are a hybrid band" say Lene Toje and Robin Sato about Sanagi. At first thought this could be taken as a reference to their cultural background. Singer/song-writer Toje comes from Norway, producer Sato grew up in Japan, and Sanagi was founded in Liverpool. In the mean time they live and work, where else? In Berlin. But the word "Hybrid" can also be taken musically, a rather obvious clue being the album title itself, Mish Mash. Built on a healthy basis of electropop, the twenty-somethings endeavor to deliver various interpretations of the genre while letting traces of other music styles flow into their work, something the duo is particularly successful at when the pop factor pops up in the melodies, leaving the electronics to sport their strengths on the instrumental level. This is exactly what happens in the opener, Rabbit Hole, as it serves up a refrain A&R managers die for: a catchy hookline, big in words and simple in structure – catchy in every sense of the word"
    24secrets, 4.10.2006


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