Christopher Just
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Biografía
- I am born in Vienna-Penzing, ordinary childhood, I go to elementary school, then to high school, wich I quit after 4 years. I gather my first musical experiences as a DJ in a gay bar. Then I receive my first sampler, a Casio SK5-4, wich I use to produc..I am born in Vienna-Penzing, ordinary childhood, I go to elementary school, then to high school, wich I quit after 4 years. I gather my first musical experiences as a DJ in a gay bar. Then I receive my first sampler, a Casio SK5-4, wich I use to produce my first track “Wenn der Toni mitdem Polster und der Edi mit dem Finger”. I send it to the Musicbox competition “Best Song for the Football WM 1988” and come first (I am still waiting for the promised cup…) After five years of studies at the Fashion School of Vienna, I have to admit, that my native country is not exactly what we could call a Mecca of Fashion, I apply for a place in the master caclass for painting in the College for applied Arts. The Director of Studies, Wolfgang Hutter (hes not the one from Kraftwerk), takes me without any examination – under the condition that I do not change my style anymore, what I manage to do for 6 months (if you are into my music you can imagine). Hutter teaches Phantastic Realism. This style, wich is unique to Austria, emerged in the 50´s and describes thepitiful attemt at continuing the art of the 20th cenury after WW2. Imagine Dali together with Klimt, or simply a Sven Väth cover – and I sit in this class. One term about Hegel and the finding that art students are extremly arduous guys finished me off. I start to go out (very often I come home at dawn), to drink alcohol, to have affairs with women and finally, I hear my first techno track during a party: Unique 3 / Digicallity. At this point, I decide to sell my painting tools and buy a decent sampler, a 909 and a 303. I start to compose musicat home. To finance it, I am working in a record store where I meet like-mindet people, among others my future co-producer, Peter aka DJ Pure. We are being “discovered” during a live-gig at U4 and in the twinkling of an eye our first record is being pressed. I go to college only sporadically (my Director of Studies doesn´t talk to me anymore) bur I don´t care because in the Frontpage charts we are number one with “Up”. Then the first German gigs follow and the second maxi “Silke” makes us worthy to play at the Mayday. To bring the ravers complete happiness, I found my own label, Sons of Ilsa. Marusha is singing “Somewhere over the Rainbow” and Westbam is inventing the “raving Society” – wich is too much for Peter, who decides to stop playing live performances from this time on. For my part, I meet Ela, who is not only excellent at cooking schnitzels, but also is afterwards at my disposal in rubber underwear. To replace Peter, I decide to transfer the rubber performance on to stage, wich is a sweeping success. To create a balance with Raver-Germany, I compose records under my own name for Cheap, Labworks, Pomelo and Test Tube. In the meantime my art studies being limited to the inscription at the beginning of the term in order to delay the alternative service. As I do not want to waiste my drawing talents completely, I work as a cartoonist for the techno magazine “Envelope”. Because of a sue, it almost cost the magazine its life. Marc Oh, Scooter, die Schlümpfe, Blümchen bring technopop to te point and consequently, it is unnecessary to carry on with the project Ilsa Gold. To play the proll is not fun eternally and after an album and 3 maxis, the Sons of Ilsa are so burnt out that they also finally turn their back on show business. My interests towards my own productions are being reinforced, I bring the label Petra into being, I co-produce the soundtrack for the first Austrian techno film “Tempo”, discover Punk nderson for Pomelo and I work at a new album, called “Gerhard – Hoppla jetzt komm ich”. With the track “I´m a Discodancer” I come together with Hell´s Gigolo Records and we´re quite successful in the UK. When Punk Anderson turn Europe´s back on and returns to Texas, I fall in a big hole and decide not to produce anymore for several years. I just do remixes and play chess from 1998-2001. I resume producing own tracks in the winter of 2001 together with Clemens Neufeld for the label “Giant Wheel” under the pseudonym “Milano Brothers”, the next step is an album called “Let there be Pop” wich includes the best of my remix works, and I produce 12” for Giant Wheel and Cheap Records under my name again. In summer 2003 I invent together with Gregor Huhsovitz the label Global Matador wich will bring joy to all people and rock the whole world for the next 10 years.