Justice's Techno Sound Holds onto Rock and Indie
IRIS: A Space Opera at SXSW 2019
Justice returned the movies by producing a 60-minute live performance recorded in invisible and vacant space. The movie focuses on their performance without an audience. A teaser clip of the movie premiered at SXSW 2019.
The show toured around the world with audiences, but they are not in the movie. The teaser shows Justice performing on a floating structure. The structure is made up of 13 independent moving frames.
Each frame features four rotating LED panels including mirrors and warm lights. The SXSW program explained, "The structure is in constant evolution over the duration of the show and proposes several new visual landscapes on every track performed. The footage is captured with the precision and patience of a rigorous documentary about the cosmos."
Justice released their latest album Woman Worldwide. The strong 15-tracks include a sophisticated production with a held fast evolutions of Justice’s former work. Comparing to their live albums A Cross the Universe and Access All Arenas, Woman Worldwide is studio produced renditions similar to their earlier studio recordings. Gaspard Auge and Xavier de Rosnay perform super-charged electric sound. Ed Banger Records calls them the company’s top commercially successful group.
The official music video for their recording of Song is so different from any other techno duo. The melodically sounds seem whimsical and playful. No wonder they win Grammys.
Rock and Indie Influences
They play techno but listen to their music, and you will hear very distinct rock and indie influences. You even see it when you take a look at their image or their high-volume career. Reportedly, they are still performing in hot spots around the world like Melbourne. Even though their music is electrifying, high-energy techno there is a light touch to their super-charged sound. Just watch the video with Oscar winner Susan Sarandon. Most DJs call them straight techno, still I beg to differ.
Best Techno Electro Mix
Let’s take a look at their first album. † collected critical praise in 2007 with the added kudos of being nominated for a Grammy Award - Best Electronic and Dance Album. It continued to do well and arrived at number 15 on Pitchfork's Top 50 Albums of 2007 with a nomination for its Shortlist Prize.
By 2009, Auge and de Rosnay snagged a Grammy Award on behalf of Justice’s remix of the MGMT’s Electric Feel. The song stayed super popular, winning the award for Best Remixed Recording, Non-Classical. The same year they left Ed Banger Records and joined WMG/Atlantic's Elektra Records label.
Befitting the new record label, Justice began working on another album. They started their Facebook account with an image to promote their new album. Releasing their very first single from that album called Civilization note to the fans, yes, we are recording a second album.
For techno guys, they produced quite a bit of music including six singles, DVD documentary, concert film titled A Cross the Universe, quite a few remixes, and even more – it just goes on and on. Let’s back up to 2005 when Justice has their first solo single arrive on the street. It’s called Waters of Nazareth and grew in popularity with some top DJs like Alkan and Smagghe. Justice even remixes the same song the following year. It’s the remixes boosted their popularity. They produced mixes from Mr. Oizo to Soulwax.
Australia Music Festivals
Auge and Rosnay received invitations to perform at pretty awesome venues like Live PA, Parklife and other festivals in Australia, which they have been doing for some time now. The Coachella festival and the Sónar Festival in Barcelona were similar venues that kept them on the backbeat.
They performed at numerous festivals. The list goes on and on from Japan to Scotland. Scanning the group’s journey, I pick the word “diverse” or perhaps “unplanned” and “haphazard.” Auge told BBC, “Yeah, it was a lot of fun to create.”
It’s called "Waters of Nazareth" and grew in popularity with some top DJs like Alkan and Smagghe. Justice even remixes the same song the following year. It’s the remixes that boosted their popularity. They produced mixes from Mr. Oizo to Soulwax.
“Well,” modifies de Rosnay, “it was probably 80 percent fun, and maybe ten percent tears, five percent gigs, two percent harassment and, um… I can’t remember where we are in percentage now. Sorry.”
But, you know, they are still performing, and they are stronger and wiser. I am just hoping another album arrives on the streets soon. Even a new remix is better than nothing. In all, I've been waiting way too long for such talent.
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© 2018 Kenna McHugh