Soulwax’s ‘Part of the Weekend Never Dies’ has been re-released

This post was originally published on this site

Soulwax’s ‘Part of the Weekend Never Dies’ has been re-releasedSoulwa

After 10 years, Soulwax has re-released its 2008 documentary Part of the Weekend Never Dies for the first time in HD and for free on YouTube. The rockumentary follows the dance music pioneers on what seems to be a never-ending tour, during which they capture the evolution of a scene from 2005-2007 an alchemist’s golden age of music. The film captures Soulwax and their confidants bump and jam literally all over the world from Japan to Scandinavia, Europe to Australia, Brazil to the States, leaving spun minds and good times in their wake.

Like all great rockumentaries, Part of the Weekend Never Dies is honest and unflinching in its presentation of the band. Through one camera, they capture Soulwax evoking release in people through an unprecedented combination of dance and rock music. This human release isn’t always pretty, but it is always honest. The level of humor and chaos presented in this film is something worth seeing and even harder to look away from.

Part of the Weekend Never Dies features clarifying and fascinating interviews from an eclectic group of notable individuals and friends of the band. Tiga, LCD Soundsystem’s James Murphy and Nancy Whang, Klaxons, peaches, and Justice all speak to the ridiculous energy, desired remixes, and innovation Soulwax/2ManyDJs gave to the scene. It’s clear from the footage that these guys are rightfully godfathers of the dance scene. Through their live drum beats, musical innovation, and ability to keep going, Soulwax set the stage for how big dance music would become, which is probably why they were so impossible to follow. Their continued commercial success is also a testament to this. 

Photo credit: BBC

HARD Day of the Dead delivers impeccable comeback lineup topped by Justice, Die Antwoord, and Knife Party

This post was originally published on this site

HARD Day of the Dead delivers impeccable comeback lineup topped by Justice, Die Antwoord, and Knife PartyJustice Julian Bajsel Coachella C014875

HARD‘s once defunct Day of the Dead property is officially back, slated for November 3 at the event’s original home at LA Historic Park in downtown Los Angeles. While rumors have been circulating since the event’s announcement earlier this summer, and a too-good-to-be-true lineup surfacing shortly thereafter, the southern California events giant has now followed up with their official roster for 2018’s event, and its damn near just as good. Headlining DOTD’s comeback edition is Justice, breaking out their live stage rig for one final outing, exactly six years to the day after the Parisian legends headlined the inaugural Day of the Dead. South African rave-rap pioneers Die Antwoord and Knife Party also top this year’s lineup, along with a stacked cast of supporting acts.

House heroes Thee Mike B, J. Phlip, Jack Beats, and Shiba San also make their way onto this year’s billing, along with Lee Foss, Cashmere Cat, and DNMO among others. Tickets for HARD Day of the Dead on sale September 27 at 12:00pm PST.

HARD Day of the Dead delivers impeccable comeback lineup topped by Justice, Die Antwoord, and Knife PartyDay Of The Dead 2018

Justice’s ‘Love S.O.S.’ video is a violent and vivifying take on fame from the perspective of the spectacle

This post was originally published on this site

Justice’s ‘Love S.O.S.’ video is a violent and vivifying take on fame from the perspective of the spectacleLove SOS Justice 1

 

 

 

Where there’s Justice afoot, some freakish (and unmistakably French) fun is sure to follow. The duo’s recently released “Love S.O.S.” video is an uncanny manifestation of Justice’s otherworldly aesthetic and improbable journey.

The track comes off Justice’s recently released Woman Worldwide live album, which consists of re-envisioned tracks from their vast repertoire. “Love S.O.S.” mirrors its visual counterpart’s merriment and pervasive vigor.

The video follows an immaculate, though misshapen, bodybuilder/stripper through his volatile performance at a lavish, ultramodern club. The perspective switches from that of the audience, as the camera intently scans the etchings of the dancer’s chiseled physique, to that of the stripper himself, with circular panning to simulate a rounding of the pole and a slew of upside down shots of the seated viewers.

The video’s violent crescendo (the dancer breaks through his glass encasement and proceeds to wreak grisly havoc on the audience) draws probable parallels to Justice’s own relationship to fame, as they undoubtedly know what it’s like to be made a spectacle of.

“I wanted the spectator of the video to find themselves in the same voyeur position as the audience attending the show: first, to find ourselves fascinated by the performance of the pole dance, then surprised and hypnotized by its outcome,” says video director, Edouard Salier, who previously directed Justice’s “Civilization” video.

Still doing the D.A.N.C.E. a decade later: Justice on 10 years together, ‘Woman Worldwide,’ and what the future holds for the greatest dance-rock band of all time [Interview]

This post was originally published on this site

Still doing the D.A.N.C.E. a decade later: Justice on 10 years together, ‘Woman Worldwide,’ and what the future holds for the greatest dance-rock band of all time [Interview]Justice Julian Bajsel Coachella C014875

Growing up with one French parent, as a child I was exposed to a more-than-healthy amount of Gypsy Kings. My Parisian mother, her questionable selections aside, always maintained music as a strong element of family life. However, somehow in raising someone who grew up to be a dance music journalist, my parents often have no idea what I do for work. Occasionally some dance music does break through their Baby Boomer consciousness though, and most often over the course of the last decade, it’s been courtesy of French electronic icons Justice.

Harmonizing the perfect blend of disco, classic rock tropes, and electro — the band’s inimitable catalog undoubtedly boasts a multi-generational appeal. Justice’s seminal debut album, †, was one of my first real forays into electronic music, and when I fell, I fell hard. It was essentially my parents’ introduction to electronic dance music too, so when I told my mother I’d be interviewing Xavier De Rosnay of Justice, a French dance legend she’s actually quite familiar with, she insisted on joining me. In fact, there was really no negotiating. Anyone else with a French mother, De Rosnay included, probably understands. So I had my mom present to help me interview one of the greatest electronic music minds of all time just ahead of Woman Worldwide‘s highly anticipated release.

Still doing the D.A.N.C.E. a decade later: Justice on 10 years together, ‘Woman Worldwide,’ and what the future holds for the greatest dance-rock band of all time [Interview]Justice Ww Live AnthonyGhnassia Credit

It has been almost two years since De Rosnay and bandmate Gaspard Augé’s critically lauded third LP, WomanNow, the two electro luminaries have followed up with a new “live” album — an homage, or perhaps more accurately, a counterpart — to Woman‘s live production, rebuilt in the studio as what De Rosnay describes as a “proper Justice record.” De Rosnay explains the record’s complexion, detailing, “After maybe six months of touring, we were really feeling the music we were playing on stage every night, and we just wanted to share it with the people who are interested in it. So we thought to record it and make another live album, but we wanted to find a way to make it different.” In those six months, the “Safe and Sound” producers brought Woman‘s flooring live manifestation to Coachella, Lollapalooza, Sónar, and home to Paris’ AccorHotels Arena to name a few. De Rosnay continues,

“We love A Cross The Universe and Access All Arenas, but they were meant to capture what its like to be at a Justice show. We knew people were frustrated, and so this time we decided to make a very clean version, very hi-fi version of it.”

Justice on wax compared to Justice on stage are two very different, polarizing experiences. De Rosnay boils down his relationship with that dichotomy, painting a picture of everything he and Gaspard wish they could do on stage being packaged up and brought to the studio to be fully actualized. Expressing a limitation on the minimal processing they can engage in live on stage, eventually, performance notes collected night after night were brought to the pair’s state-of-the-art studio in Paris with the intent to merge the two experiences. With the time, space, and resources needed to make their live show emulate the quality of a crisp, clean studio album format, Augé and De Rosnay were able to cherry-pick the best parts of their hair-raising live set and recreate them into Woman Worldwide. “It’s a version of what we’d like to do every night that we can’t do,” says De Rosnay.

Still doing the D.A.N.C.E. a decade later: Justice on 10 years together, ‘Woman Worldwide,’ and what the future holds for the greatest dance-rock band of all time [Interview]Justice Woman Worldwide Photo Cred Pascal Teieira 2

Among all the sonic chaos the two manage to pack into each LP, there’s an obviously meticulous nature to the duo’s work ethic. Surprisingly enough, the process of writing music actually proves to be much more organic and emotional for De Rosnay than calculated and measured. My mom chimes in, prodding in French about De Rosnay and Augé’s knack for perfectionism: “Are you happy with how the final product turned out?” I can feel my ears and cheeks getting hot.

“We are very happy with the album. It’s not perfect, but it’s perfect for us. Perfect isn’t the right word… its very accurate in terms of being what we originally imagined it to be. It is impossible to make a perfect record, but it’s very faithful to our idea. The records I love the most are not perfect in a technical term. As long as we connect to the music, then we can put it out.”

Since their 2007 debut, the band’s artistic development has naturally progressed between predominating styles and themes, however, it has always managed to hold a sense of genuine timelessness. “We don’t mind actually being tagged in one category. It’s not for some people. But we don’t mind the categorization. Every time we hear a new band, the first thing we do is try to categorize them,” De Rosnay admits. Though s heady, distorted electro backbone stands in direct contrast in many places to Woman’s futuristic gospel-glam core that came a decade later, both albums still undoubtedly look, sound, and feel like Justice. It’s been a gradual advancement of style, “Yeah, it’s a little strange,” starts De Rosnay, “on one hand, we always feel like we’re making the same thing. The disco element has always been there, like ‘D.A.N.C.E.‘ is straight disco with rock elements, perhaps just in a different shape. When we finish a record we never know if its too similar to what we did before.”

“Even if tomorrow we’re making a hard rock record, or a rap record, or even a reggaeton record, I think it will still sound a lot like Justice.”

Though, the two producers are far from the same wide-eyed DJs they were in A Cross The Universe touring the states for the first time a decade ago. Sometimes the leather jacket and stud-clad version of Justice seems like a lifetime ago. De Rosnay concedes that the pretenses of a full-length visual feature similar to the band’s unforgettable tour documentary seems unlikely nowadays. He sighs over the thought, “99 percent of music documentaries have a band as the subject and then people all talking about how great that band is, ‘oh they’re so cool’ or whatever,” De Rosnay laments. “We didn’t want to do that. We made A Cross The Universe for fun. We didn’t want to make a documentary that says we’re great. Making A Cross The Universe was like Jackass — we wanted anyone to be able to enjoy it and find fun [in it], even if they aren’t connected to the music we make. At the time I think I was 25, [Augé] maybe 27.”

Still doing the D.A.N.C.E. a decade later: Justice on 10 years together, ‘Woman Worldwide,’ and what the future holds for the greatest dance-rock band of all time [Interview]Justice O2 Briton Academy Credit Guifre De Peray

A Cross The Universe was really about what happens when you take a new French band and you allow them to indulge in the rock and roll cliches we’ve always been told about. But we made it knowing that ten years later, we’d be in a completely different place.”

De Rosnay maintains his characteristically cool, tight-lipped allure when prompted on a possible visual element to Woman Worldwide, “We’re always trying things. If it’s good enough, it’ll exist. For example, we tried to make a film for Access All Arenas and spent a lot of time on it, but it wasn’t good enough, so we didn’t release it. But we’re always trying to create a visual tie to things.” In planning ahead, De Rosnay and Augé prefer to savor the moment, but with a cycle of nearly five-year gaps between studio albums and nearly equal measures of time between live projects, with Woman Worldwide’s release, the duo’s pattern suggests a hiatus is due.

De Rosnay politely laughs at my mother’s nudging as she pesters him about taking, “les grandes vacances” after the duo’s tour concludes at Austin City Limits in October. Even deities make obligatory small talk with mothers. He counters, “Sometimes it feels like we’re on a permanent vacation, but at the same time we’re always working. It’s been two years since Woman was released and in the time since then, we’ve been touring. If we started working on the next album right after the tour and that takes a year and a half, it would be finished by late 2020 — that’s already four years between two albums without a break,” remarks De Rosnay. “We do disappear in a way, though, since when we’re recording we don’t play live.” Has any new music been written since Woman’s release? “…No.” Ah, that abrupt, yet ultra-cool French temperament.

Still doing the D.A.N.C.E. a decade later: Justice on 10 years together, ‘Woman Worldwide,’ and what the future holds for the greatest dance-rock band of all time [Interview]Alice MoitieÌ Credit Justice Press Shot

After a brief pause, De Rosnay does creep forward. “With Woman, we worked a lot on the live show. Then we toured and spent a lot of time working on Woman Worldwide, and now we’re working on… things. But it’s hard to start writing a new album when we’re still on the last one. One of the greatest pleasures of making music is being in our studio, together with time and space. We could work on laptops in hotel rooms and planes, but it’s not a thing we enjoy. That works for some people, we just like the pleasure of being in our own studio.”

Somewhere between nu-disco and New Testament, Justice have crafted, and then re-crafted, a certified masterpiece with Woman and the ensuing Woman Worldwide. Now that we might be nearing the end of a prolific chapter in the visionary Justice narrative, De Rosnay departs with a seemingly innocuous, yet perhaps foreshadowing salutation. “We hope this continues as long as possible, let’s cross our fingers. The door is always open.” Here’s to another decade of Justice For All.

Listen to Justice’s live-inspired studio masterwork, ‘Woman Worldwide’

This post was originally published on this site

Listen to Justice’s live-inspired studio masterwork, ‘Woman Worldwide’Justice Julian Bajsel Coachella C014875

Its hard to believe that it has been nearly two full years since Justice‘s seminal comeback record, Woman blasted through the EDM consciousness. Perhaps that’s because in that time Xavier De Rosnay and Gaspard Augé have maintained an exceptionally busy itinerary, touring their third album across the world, from massive arena shows to international festival circuit headlining slots. Now, aligning with the band’s decade-long strategy, the pair of French electro icons have returned with the “live”rendition of their latest album, offering a reimagined Woman Worldwide, out now via Because Music and their longtime home of Ed Banger Records. The new concept is an intriguing take on the live album format, coming together in the studio rather than a performance recording, melding together the greatest elements of Xavier and Gaspard’s live show.

The album comes after months of stage notes, piecing together a live show with a proper album feel. Justice’s Xavier De Rosnay described the album’s complexion to Dancing Astronaut, 

“After maybe 6 months of touring, we were really feeling the music we were playing on stage every night, and we just wanted to share it with the people who are interested in it. So we thought to record it and make another live album, but because we already made A Cross the Universe and Access All Arenas, we wanted to find a way to make this one different.”

Woman Worldwide is inspired by the live show designed around the duo’s latest LP, but the album proves to be much more than that. It’s a sonic retrospective that spans ten incredible years of Justice, from canonized classics like “D.A.N.C.E.” and a revamped “DVNO” crosscut to the pair’s nu-gospel opus “Safe and Sound” and disco-rock belter “Randy.” The new live/studio hybrid album pays homage to Justice’s legendary catalog, but for those who have seen a Justice live show, it proves to be ever faithful to their live performance. For those that haven’t, it serves as a clean cut studio album that paints an incredibly accurate picture of the real thing. Enjoy.

Navigate through a trove of exclusive Justice material from the last decade on new retrospective website

This post was originally published on this site

Navigate through a trove of exclusive Justice material from the last decade on new retrospective websiteJustice Www Live Credit Anthony Ghnassia

Ten years in dance music might as well be an eternity. Celebrating a decade in the business is no small feat. Though, on the heels of Justice‘s third live album, (technically their fourth studio album), Woman Worldwidethere’s no denying the duo’s already-secured spot in the highest echelons of dance music ubiquity. Now, to celebrate their tenth anniversary, before moving to deliver another masterful imagining of their live show, the “Safe and Sound” producers have launched a new website — Justice TV — stocked with a trove of highlights from the French electro dons.

REVISIT 10 YEARS OF JUSTICE HERE

Tour through mesmerizing video content and nostalgic look backs at some of Justice’s brightest moments, navigating through fan-generated video clips, music videos, photos, and more. Fans can also discover “hidden” exclusive content, scoring Justice merchandise and tickets while perusing through the band’s storied career. There’s even a streaming link to watch A Cross The Universe in full buried somewhere in the sprawl of material found on the new site. Justice fans just hit the jackpot.

Featured image: Anthony Ghnassia

Justice releases ‘Chorus (WWW)’ off highly anticipated ‘Woman Worldwide’ album, dropping Aug. 24

This post was originally published on this site

Justice releases ‘Chorus (WWW)’ off highly anticipated ‘Woman Worldwide’ album, dropping Aug. 24Justice Woman Worldwide Chorus

Justice have released the third single, “Chorus (WWW),” off their highly anticipated 15-track Woman Worldwide album, set to drop Aug. 24 via Ed Banger Records / Because Music. Alongside the new track, Gaspard and Xavier also dropped the teaser video for Woman Worldwide. The remade “Chorus” track from their 2016 Woman album takes liberty of the catchy synth melody by adding a driving four-on-the-floor kick that transforms the original into their signature style of electro-house madness. Long-form anticipation remains a focal point for the remake project.

Woman Worldwide is a result of Justice re-writing several of the Woman album’s pieces while performing them live on tour. Discovery of new sonic avenues within countless crowd experimentation brought them back to their studio in Paris to polish their newer versions.

With the album just one week away, Justice are embarking on a special four-city screening of the VR experience “Chorus VR,” developed in partnership with WITHIN. Premiered earlier at this year’s 2018 Sundance Film Festival, “Chorus VR” transforms the experiencer into a fantastical female warrior with a journey ahead of her in faraway Tron-like fantasy worlds from the ’80s. The VR experience will open in Los Angeles, Paris, Sydney, and Brussels on Aug. 23.

Justice will continue to tour across the globe with upcoming festival dates at Austin City Limits and Life Is Beautiful.

WATCH: Justice unveil astonishing live rendition of ‘Randy’

This post was originally published on this site

WATCH: Justice unveil astonishing live rendition of ‘Randy’DFN17 SUN JUSTICE 1 Credit Ismael Quintanilla

Though Justice‘s three studio albums are impressive on their own, the groundbreaking French duo have always thrived in the live environment, crafting meticulously calculated, legendary audio-visual performances. In preparation for their upcoming third live LP, Woman Worldwide, Justice have shared a stunning video of their performance of “Randy” at the AccorHotels Arena in Paris from last year.

Clocking in at a ample seven minutes, the video captures the true magnitude and intensity of the band’s live production. From the light-equipped pyramid of speakers stacked behind Gaspard and Xavier to the dazzling spotlights moving across the crowd, every visual aspect of the show accentuates the music it accompanies. The Frenchmen can be seen here performing the live version of “Randy,” cranking up the track’s hard-hitting industrial appeal that largely stays in the shadows of the original mix. Celebrating more than a decade of mind-bending live shows behind them and even more live edits underway, Justice drop off a tantalizing visual tease ahead of Woman Worldwide‘s August 24 release.

Justice take us back to ‘Woman’ through live album ‘Woman Worldwide’

This post was originally published on this site

justice

2016 ended on a high note for Justice fans, who were treated to the duo’s third studio album Woman in November. It was unabashedly Justice; filled with nostalgic hits of disco, funk, electro, and house, yet arranged in a way that is modern and built to endure. Furthermore, it stood out as a veritable piece of artwork among a sea of monotonous singles.

An Essential Mix and an expansive world tour later, Gaspard and Xavier have returned with a refreshed vision for Woman. They’ve re-written several of the album’s pieces whilst performing them live, and have since assembled them into a brand new live album titled Woman Worldwide. However, this isn’t a run-of-the-mill live album, in that Justice have more or less created a brand new body of work out of their re-creations.

The storied pair have marked the occasion with the debut of “D.A.N.C.E. x Fire x Safe and Sound,” a livening combination of their three album singles that have been re-imagined into a fluid, high-charged new piece of music. Its energy is truly infectious.

 

Pre-order the album here

Justice fan posts memorial for deceased iPod on Reddit, then something remarkable happens

This post was originally published on this site

Oftentimes, we build up our most revered icons into deities — in tune with their fans, but maintaining a considerable a degree of celebrity disconnection. Its hard to imagine Daft Punk or Carl Cox surfing the comments sections or sifting through Reddit, but alas, we are sometimes reminded in humbling ways that our favorite creators are just people too. Recently, redditor and Justice fan effennekappa took to the forum to express a memorial post celebrating the lengthy life, and now tragic death of his resilient 160GB iPod. The mp3 brick, adorned with a decal of Justice’s iconic †, belonged to its owner for a decade before it succumbed to natural causes.

“I’ve spent 10 years with this 160gb monster in my pocket, it’s been with me in every single trip, journey and commute I’ve made since I was 20. Today it played its last song. Farewell, you magnificent bastard,”

lamented effennekappa in the thread’s headline.

But as the post began picking up traction online, something remarkable happened. Lo and behold, the Parisian DJs eventually hopped into the thread to pay their respects, offering to personally replace the man’s iPod. The post became one of Reddit’s top posts of the day, with the duo even mentioning they’d replace the iPod with some added new music. Could this mention of new music be Justice’s upcoming studio/live album concept? That would make for a legendary album teaser, but for now, we’re reminded that Xavier and Gaspard are a regular couple of mensches, and even when we’re not awarte of it, sometimes our favorite artists are watching us closely too.

Celebrate the life of effennekappa’s iPod by enjoying Woman today.

Via: Reddit

Featured image: effennekappa