ANDERE ÜBER UNS

Auf MONOCHROM.AT über die Split-CD mit Hermelin:

There is longwinding moment of pure guitarjoogling on full chords and tight rhythms during JFP’s “changement (de la methode)” that seems to define the focus of this young band perfectly: to densify and tighten the impact of drums / bass / guitar by making complex things sound simple and to click together like a perfectly handcrafted machinery. Maybe it is the modern version of Seventies psychedelic groove or acid rock, but with all the unnecessary guitar solos and walls of keyboard sounds thrown overboard in favour for a more reduced and sparse approach, that nevertheless has more human warmness and trueness (and doesn’t need large amounts of drugs to become a positive experience). On a spectrum between Don’t mess with Texas and Room 204 Junique Fois Pi sit comfortably on the middle square, being neither heavy nor soft, but also able to grab the listener and pull him into their groove.
There is another moment during “clapotation (de la structure)” where they fall into the same machinery-like tightness and rolling, but without the full guitar chords and with a strange flanger-sound on the bass, which is like Shellac doing a Funkadelic cover (think about it!). But that only lasts for a moment or so, anyway, because JFP are constantly changing and re-arranging their parts around a single idea, and then another one, and so on. It is as intuitive as postrock – with focus on the rock – can ever get.
Hermelin on the other side are less daring and their power to pull comes more from strengthening the dynamics of heavy / soft or loud / silent parts. Maybe it is just a matter of the drummer of JFP being technically more experimental, but who could pin something like that down for sure. There is a latent headbanging bit in almost every song, but usually soon resolved into a technically more challenging bit, especially for playing together. The songwriting works, though, and by being more brash and direct in all the places where JFP try to be subtle, they end up on the same effect really. One of the best parts, though, is when they really go for it at the end of their third track, “nova police”, with the snare hitting heavy 1/1 and the guitars falling into some fine heavy-metal fake chord changes. This moment only takes a few seconds at the end, but it is telling of the scope that these players think in and that they seem to know that their kind of music not only has roots with Tortoise or Don Caballero but also with heavier parts of the landscape.
Yes, this means, that this is a split release where the two bands really are close together, for whatever the rambling on how to pair a split-release has to say anyway. It is instrumental music as well, by the way, and as far as the similarities go, this is about the only one that is one hundred percent fixed. The differences are harder to come by, or, that is, to verbalize, because on a more haptic or even sensual level the bands are distinctively different, though not when trying to pin them down.
Both bands are a good example of my old theory that great music is growing everywhere and unlike bad music it doesn’t need the attention of the masses to flourish. Kids (and some grown ups) all over the world are carving out their own niches, playing to their friends and small crowds, but those being people that are intent and keen on listening to them, not just buying CDs for the glamour factor. Or as the square says in that movie Cry-Baby: “They have to be good, they’re on the charts” – and everybody knows he is wrong. (He get’s beaten up in the end, fortunately.) By the rules of the business it is impossible for a creative commons release to get onto the charts. These kids don’t care, they do it on their own, without searching for provovation or extremity, or at least not in the obvious trodden paths, and they are alright. This is a free download or a cheap order CDR, so no reason for you not to check it out.
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Auf NETLABEL.IT über die Split-CD mit Hermelin:

A poco più di dieci anni dalla sua nascita, il post-rock non sembra godere di buona salute, stancamente avviato com’è verso una poco dignitosa terza età; i pionieri del genere si dibattono sempre più fiaccamente tra dischi anonimi (il nuovo Mogwai), reunions discutibili (Slint e Don Caballero) e collaborazioni poco convincenti (Tortoise con Will Oldham); e mentre epigoni e presunti eredi si sprecano un po’ ovunque, con esiti il più delle volte poco degni di nota, la stampa specializzata ha già da tempo scaricato il fenomeno, per dedicarsi alla immancabile ‘next big thing’ del momento.
Appare quindi perlomeno bizzarro che dalla periferia di rocklandia (Hannover e Colonia non sono propriamente Chicago e N.Y.) due gruppi formati da musicisti poco più che adolescenti decidano di ricusare il dogma imperante del revival punk-funk, per sposare la causa meno premiante di un certo tipo di rock ‘matematico’.
Non troverete, pertanto, refrains ammiccanti e ritmi danzabili a base di charlestones in levare in queste sette tracce strumentali (quasi) equamente ripartite tra le due bands; piuttosto progressioni armoniche che si evolvono in costante mutamento tra quiete e furore, dipanate su patterns ritmici complessi e articolati.
Aprono le danze gli Junique Fois Pi, da Colonia, classico trio basso, chitarra e batteria. Delle due formazioni protagoniste di questo split, sono quelli più chiaramente riconducibili ad atmosfere post-rock. I quattro pezzi qui presentati (originariamente pubblicati sul CD-r “Plus” del 2004) mettono in evidenza un suono compatto e maturo, frutto di una notevole coesione strumentale, dove sono le variazioni ritmiche, al pari della costruzione melodica, a sostenere la struttura dei brani.
La buona espressività e la grande ricchezza dinamica garantiscono un ascolto esente da momenti di noia o stanchezza (rischio, purtroppo, spesso connaturale al genere), con picchi particolarmente ispirati, specie nella seconda traccia “changement (de la methode)”, con una batteria marcatamente ‘jazzy’ a fare da spalla alle evoluzioni della chitarra.
[...]
In definitiva un’ottima uscita per la 12REC, insolita escursione in ambito rock per un etichetta che finora ha privilegiato un discorso più prettamente elettroacustico. Caldamente consigliato, anche ai non iniziati al genere. __________________________________________________________________________________________________

Auf RAUSCHABSTAND über das Konzert im BLUE SHELL:

Die Musik von Junique Fois Pi wurde von einem jungen Mann in Hörweite als "Musik für einen Film der nie gedreht wurde" beschrieben. Auch wenn das die abgenudelteste Postrock-Metapher auf dem Markt ist, kann man das zur Not wohl durchgehen lassen.
Konkret spielten Junique Fois Pi Postrock in Richtung frühe Tortoise, wenn auch mit einer positiveren Grundstimmung und einem wesentlich engagierteren Drummer. Obwohl ich nicht alle Songs hören konnte ein sehr schöner Auftritt.
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Die Veranstalter der "Blauen Nächte" 2005 im BLUE SHELL schrieben:

Reine Instrumentalmusik ist schon lange nicht mehr langweilig. Und die Kölner JUNIQUE FOIS PI haben die gesamte Bandbreite des "so called" Postrock drauf. Von rhythmisch vertrackt über dynamisch steigernd bis schwelgerisch schön geht bei ihnen alles. Jazzige Beats treffen auf Gitarrenwände, die Songs entwickeln sich von kleinen Motiven hin zu gewaltigen Rockepen, ohne dabei an Spannung zu verlieren.
Wer sich eine Stilmenge aus TORTOISE, TRANS AM, BILLY MAHONIE und MOGWAI vorstellen kann, wird sie lieben. Nachzuhören auf ihrer EP "Plus".
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Die Veranstalter der Konzertreihe "Purer Luxus" im Kölner KUNSTWERK schrieben:

Das mit Gitarre, Baß und Schlagzeug klassisch besetzte Köln / Bonner Trio JUNIQUE FOIS PI macht instrumentale Rockmusik, mitunter auch Postrock genannt. Allerdings tappen sie dabei nicht in die Achtung-Kunst-Falle, sondern rocken, was das Zeug hält. Es geht gerade nach vorne, man weiß was man kann, und wenn es sein muss, wird alles gegeben. Das Trio kann sich aber auch zurücknehmen, um in zarten, lyrischen Momenten zu schwelgen. Ihre Stücke kommen ohne Gesang aus, und sind doch klasse Songs.
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Die Veranstalter des KULT41 in Bonn schrieben in der Ankündigung des Konzerts mit MERCER:

Zwei Bands aus Köln, die sich dem instrumentalen Post Rock verschrieben haben; während Mercer es ruhiger angehen lassen und sich durch das harmonische Zusammenspiel beider Guitarren auszeichnen, lassen es Junique eher krachen und oszillieren zwischen emotional krachigen und entspannteren Passagen. Anhören!
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Aus der Review des "Cologne Independent"-Samplers auf CRAZEWIRE:

... Mercer spielen atmosphärischen Instrumentalrock und können mich, als Liebhaber dieses Genres, überzeugen. Für Junique Fois Pi gilt ähnliches, wenngleich sie im Vergleich zu Mercer mehr auf Frickelei denn auf Atmosphäre Wert legen und damit den direkten Vergleich verlieren ...
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