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Let the good times roll
We cannot tell definitely what occurred in room number 1527 of the Fairmont Princess Hotel Acapulco during Christopher Just`s meeting with Mr. Roland Flick. The beautiful decadent-morbid post-roxy-music-cover of „Fairmont Princess #1527“ foreshadows the part that excesses possibly played. Christopher Just is said to have been quite up for this kind of activity from time to time in the past.
One thing is for sure: This meeting changed... Read more
Let the good times roll
We cannot tell definitely what occurred in room number 1527 of the Fairmont Princess Hotel Acapulco during Christopher Just`s meeting with Mr. Roland Flick. The beautiful decadent-morbid post-roxy-music-cover of „Fairmont Princess #1527“ foreshadows the part that excesses possibly played. Christopher Just is said to have been quite up for this kind of activity from time to time in the past.
One thing is for sure: This meeting changed Just. „ Hopefully for ever“, he says. „Roland Flick - a man visibly marked and broken by an excessive way of life - and his story are part of my own story, which I recognized when I met him and to which I said good bye, maybe just before it was too late.“ It´s the old story of too much fun turning some day into complete opposite. Looking back, the musician`s last ten years represent „ a period dominated by a lack of restraint - started by the joy of life but leading into excess and confusion.“
So it took eight years from Christopher Just`s previous album „Jeans & Electronic“ – re-released 2004 on Combination, including new material - and „Roland Flick Fairmont Princess #1527“. No doubt, the Viennese artist produced and published a lot in the meantime, but retrospectively most of it were – mind you, predominantly excellent – tracks that he pulled out of his hat like the perky ecstasy-club-clone „I Love The Acid, Too“ and that kept the name Just alive while the person Just wasn`t having such a good time.
Because of his meeting with Roland Flick, the man with the thousand masks (Punk Anderson, Sons Of Ilsa, Gerhard, DJ One Finger,...) recognized that some day his countless musical identities would lose their way without an fully functioning Christopher Just. So he returned to his real name and brought it back on the proper course.
„Roland Flick Fairmont Princess #1527“ represents a restart in many aspects. If this would be one of his humorous albums, it would possibly be called „Every hangover is followed by ecstacy“. In 2005 Just finally got again into music as his ultimate thrill, outshining and making unnecessary any other thrills. He recorded an album in a passionate way, giving the techno-clown a break and having no other intention than to make his producer a happy man.
In this case, restart also means that Just refreshed his love to electronic music, which in the meantime had cooled off a little bit. The album appears in a muliti-faceted way, drawing a bow from an atmosphere full of feeling, over dynamic techno to forever valid italo-basslines. Just takes the liberty of using unusual means, such as trashy strings-pianos or strange variations of harmonies. But he especially pleases the audience with some of the most perfectly composed and most complex tracks ever produced by him.
The fun he had during the making of the album is being transferred directly to the auditor. It starts with the most adorable „Everyday (The Sadness I Carry On My Shoulders)“, during which firstly you can`t be sure if it`s a unfunny joke or not and if perhaps Cosmic Baby is risen from the dead. But then Just comes along with an unbelievable bittersweet melody, drawing a tear even from someone who already had become heartless. Then there is „Moiras Theme“, a little monster of an electro-track, showing to what the master is up to - if only he wants to. Of course, he can do it in a different way and he proves it with „Popper“, a - wonderfully put in a nutshell - superfunky, sweeping piece of disco-techno in the typical Just-style. Here he an his brother Raphael are remembering the easygoing fun that was represented by rave in ist original mold, but it´s not yet necessary to proclaim a nineties-revival because Christopher Just proves with this album that he is - even more than he likes to remember the beginnings - happy to be living right here and now and that he is doing it in an more intensive way than ever before.
Why this is the hottest shit even if it doesn`t care about all the sound technical minimal-trends? Because everything feels fresh again with this album. It seems, the good times for Christopher Just have just now begun.
Sebastian Fasthuber
(Quelle: http://www.miooow.com/artists/christopher_just.asp) Show less
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