Special info:

Due to the measures taken by the Swiss Federal Council in order to restrict the spreading of the corona virus that came into effect on 27th February 2020 and are ongoing, currently any kind of events are banned and concert locations ordered to close until June 8th 2020, while events with more than 1'000 attendees are not allowed to take place until 31. August 2020.

This means that all concerts during this time period cannot take place as previously planned. We are working hard on confirming replacement-dates for all shows, so you can still enjoy your favourite artists, only on another day. We are keeping you updated about each postponed show date individually in the corresponding artist & show information pages as well as via our social media channels. Please refer to these for the accurate status on the concert you wanted to attend.

Stay healthy, follow the recommended hygiene procedures and don’t lose your love for music!

Thank you, your team at Just Because.

Electronic Justice

Justice

Electronic

The Grammy Award winning duo Justice release today their highly-anticipated third studio album ‘Woman’ via Because Music / Ed Banger Records. It is the band’s first album for five years and contains 10 brand new tracks including singles ‘Safe And Sound’, ‘Randy’ and ‘Alakazam!’

Woman’s journey starts with « Safe And Sound » which is the perfect fanfare for what lies ahead. Built upon a bedrock of slap bass workouts and glistening synthesisers, the sense of drama is ratcheted up by swirling Love Unlimited-styled disco strings. This journey catapults you from the elastic R&B pop of “Pleasure” straight into the rush of “Alakazam!”. Twirls through a dazzling bout of thumping electronic piano and clavinet sparring during “Fire”s dancefloor peacocking, barely pausing for breath before it lands at “Stop” – a sparkling, bittersweet slice of disco pop that boasts one of the best chorus the pair have ever had on a track.

Featuring Audio, Video, Disco collaborator Morgan Phalen on vocals, “Randy” has a melody Michael McDonald would have killed a fellow Doobie Brother for (if Michael McDonald was into gut-shuddering electro that is). “Love S.O.S”, meanwhile, sounds like the greatest disco anthem you’ve never heard, striking the perfect balance of euphoria and heartache while a synth wails like a police siren throughout. It’s mirrored in a more live approach to recording. At least that’s what it initially sounds like. What you think is a live drum track turns out to be a heavily treated 808 and what sounds unmistakably like a theremin transpires to be a woman playing a musical saw. The songs themselves too are almost impossible to pin down. Coming halfway through the album, “Chorus” jolts the listener out of any concept of what the record is going to promise next.

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