All music lovers and musicologists in Greece are looking for something new and exciting. We keep complaining about the repetition that runs through all productions in our country. We emphasize on records “like the old days” and we are bored of all kinds of adaptation that spreads like a virus in greek music production. We – say that we – seek a new sound that will renew our soundscape and will cause turbulence in the stagnant water of greek discography. “Old” and “new” are becoming evaluative characterizations pointing to a certain direction, as if music has a certain age or recipe. On the other hand, the audience has it’s own rules and preferences and seems to be comfortable inside all this repetition. So, why bother?
In the era described above, almost out of nowhere, a “strange” record is out. Entitled “Greece is mine” by Christian Ronig. More adaptation? Yes, but substantive adaptation. The record contains famous greek songs adapted in English and in German which alone is very interesting. The absence of folklore guaranties even bigger interest. “Greece is mine” isn’t made to be found in the souvenir shops below the Acropolis. “Greece is mine” is a different aesthetic approach of greek music and songs through the eyes of a “stranger” who “sees” the past in a creative way. The chosen material is integrated to a new frame, is being refreshed and served again with possible recipients (in and out of Greece).
“Greece is mine” has no boundaries concerning the repertoire, time, etc. It crosses different eras of greek music and brings them close to the aesthetics of the artist responsible of their adaptation. The album provides a certain atmosphere and creates a comprehensive soundscape as the play goes from song to song. As a plus, no certain track can be considered as a “hit”, or as a single. You keep listening the entire album (again and again) without being able to distinguish on of the songs.