Estasi E Veleno Runs on a Programmed Pulse and Giuseppe Cucè Knows Where to Take It

How Two Players and One Sicilian Studio Turned a Cantautore Lyric Into Dance Pop

Start with the credit list. It explains the record. On Estasi e veleno the credits give Emiliano Patrik Legato electronic programming, keyboard and bass. Riccardo Samperi takes the guitars, and he recorded and mixed the track. Two players. One low end that moves as a single idea, because a single pair of hands built it. Giuseppe Cucè put the single out on 3 July 2026.

Everything these desks have run on Giuseppe Cucè is gathered on his artist profile, and the music itself is in the playlist below. Estasi E Veleno reached this desk through PopHits.Co Music Charts, which verifies independent artists and places their releases across its network of music news sites. Hear it first, then read.

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How Estasi e Veleno Came Together at TRP Studios

The single arrived through TRP Vibes / Track Records Productions on 3 July 2026. It went to radio and streaming the same day. Cucè wrote the words. He and Samperi share the music credit. Samperi tracked and mixed the record at TRP Studios. The master went out of house, to Energy Mastering in Milan, with Alberto Fidone supervising for the label.

That is a short chain of decisions. Short chains give a dance-pop record its snap. One engineer recording and mixing in one room lands a settled tone. A record assembled across three studios rarely gets there. Nothing needs reconciling later, because nothing happened in isolation.

The division of labour is unusually clean. Legato runs the programming, the keyboards and the bass. One player therefore voices both the sequenced parts and the low end, so they phrase together instead of competing. Samperi’s guitars come in as accent and edge. He was mixing as well, so he could stop them crowding the keyboard bed. The track runs a fraction over three minutes. That discipline is what leaves room for the vocal.

The Alphabet Hook and the Lyric Underneath

Here is the part worth studying. The chorus runs on an alphabet ladder. B for basta pensarci di più. C for castelli e carri in Perù. D for Dio che non crede in Gesù. Then E, where the title finally lands: E come estasi e un veleno in più.

That is a sequencer pattern inside a lyric. Each rung takes the same rhythmic slot, the same melodic contour and the same rhyme. A listener learns the shape after one pass and predicts the next step. It does the job an arpeggio does in a synth part. Establish a repeating cell, then earn the variation by changing one element at a time.

It also solves a real problem. This is a song in Italian, and much of its audience does not speak Italian. You do not need a dictionary to follow a ladder. You hear the letter, you hear the return, and the hook holds.

Inside the Estasi e Veleno Verses

The verses run on newspaper imagery. Front page, then second page. Distorted headlines, Spider-Man drowning in a pond, a toad in a double-breasted suit. Cucè stacks absurd fragments on purpose rather than building an argument. The writing wants disorientation, not a verdict.

He named the centre of it to the Italian outlet My Chance: “Devo capire che in fondo Gesù non sei tu.” That is where the irony drops out. The track then states its real subject, which is our habit of building idols and waiting for them to fix what we should face ourselves.

The production serves that. The vocal sits inside the arrangement rather than on top of it. It stays close and warm, and it reads clearly over a full-tempo backing. Nagamag heard the same thing, describing a voice that moves confidently within the arrangement and amplifies its lift. On a track this brisk, that placement decides whether you follow the lyric or lose it.

Where the Arrangement Sits and Who to Play It Next To

The pulse is straightforward disco-pop, and deliberately so. Radiocoop filed the single under dance, indie and pop in one breath. Foxfire Magazine called it a dance-pop single with cinematic arrangements and Mediterranean colour. That pairing is the design brief in a line. A programmed, floor-facing rhythm section carries a text that would normally sit over an acoustic guitar.

The reference points are largely Italian. Giorgio Moroder is the obvious ancestor for a programmed pulse driving pop. He set the template for machine-led dance music with a song still at the centre. Franco Battiato matches the words more closely. He ran surreal catalogues of images over synth-led arrangements and trusted listeners to assemble them. Subsonica covers the middle ground, with Italian songwriting over electronic rhythm and neither half apologising. None of that makes Cucè derivative. It locates the room he works in.

The Video and the Coverage

Cucè treats the visual half as part of the same work. Gianluca Scalia directed the official video, with Kemedia producing. It arrived on 26 June, a week ahead of the single. The shoot used I Crociferi in Noto and the Afrobar in Catania, and Cori Amenta appears as special guest. Contrasted lighting, dynamic scene changes, a narrator moving through symbols rather than explaining them.

Italian coverage followed quickly. Underground Music carried the release announcement, and international write-ups arrived through July. For an independent single with a two-player production team behind it, that is a healthy spread.

Where to Hear Estasi e Veleno and Follow Giuseppe Cucè

Stream the single on Spotify, Apple Music and Tidal. The wider catalogue sits on Deezer.

The official video and the rest of the visual work live on YouTube. For day-to-day updates, follow the artist on Instagram, Facebook, TikTok, Threads and X. The discography, press archive and contact details sit on his official site.

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