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 

Justice announce new live album ‘Woman Worldwide,’ share tracklist

This post was originally published on this site

The excitement for Justice fans just keeps coming. In rapid fire fashion, the Parisian disco gods have delivered a vibrant new music video for “Stop,” from their 2016 studio album, Womanfollowed the next day by a special live-streamed headlining performance at Google’s annual I/O conference. Now, Xavier de Rosnay and Gaspard Augé’s recent movements have culminated in the announcement of their upcoming third live album, Woman Worldwide. Each of the duo’s previous studio albums have received a coinciding live record, though a statement from Justice’s team indicates that Woman Worldwide leans a little differently. While A Cross The Universe and Access All Arenas, “purposely approximated the sound of bootlegs,” the group’s new live LP was actually designed to, “sound like a proper studio album.”

Justice have also delivered the (not-so-live) album’s tracklist, which emulates their live performance structure, blending canonized classics and modified live material from Woman. The impending new album is slated for August 24 via Justice’s longtime home imprint Ed Banger Records. View the full tracklist below.

Woman Worldwide tracklist:
1. Safe and Sound
2. D.A.N.C.E.
3. Canon’ x ‘Love S.O.S.
4. Genesis’ x ‘Phantom
5. Pleasure’ x ‘Newjack’ x ‘Helix’ x ‘Civilization
6. Heavy Metal’ x ‘DVNO
7. Stress
8. Love S.O.S.
9. Alakazam!’ x ‘Fire
10. Waters of Nazareth’ x ‘We Are your Friends’ x ‘Phantom 2’ x ‘Alakazam!
11. Chorus
12. Audio, Video, Disco
13. Stop
14. Randy
Bonus track: 15. D.A.N.C.E. x Fire x Safe and Sound

Live stream Justice’s headlining performance from Google’s I/O conference

This post was originally published on this site

There’s been a steady stream of exciting news pouring out of northern California from Google’s annual I/O conference. The Google Assistant is getting a John Legend upgrade, devices are now being integrated with continued conversational abilities, but perhaps the most exciting part will be a rare live-streamed performance by Justice to close out this year’s event. Justice are expected to take the state at 8:30pm PST and their headlining slot is slated for a full 90-minute set.

The French electro dons are fresh off the release of their mind-bending new animated feature for “Stop,” from 2016’s Woman LP, which is expected to also receive a special live debut during the Ed Banger veterans’ performance. What’s more, the conference closer also includes a supporting set by Phantogram before Justice takes the stage. Ahead of a number of high-profile arena and festival appearances the summer spanning from the UK to Russia, Justice are bringing their awe-striking live show to Mountain View’s Shoreline Amphitheater for fans across the world to stream and enjoy.

Stream Justice’s performance here.  

Justice debut new ‘Stop’ music video, announce live streaming performance at Google I/O

This post was originally published on this site

Justice have shared the new music video for “Stop” from the duo’s lauded 2016 LP WomanThe new feature, animated by another French creative pairing, illustrators Mrzyk & Moricea, accents the dreamy, slow-burn disco cut with a synesthetic dose of neon that perfectly completes the song’s retro aesthetic. Scaling back the album’s psychedelic dance ballad to a leaner radio edit, the “Stop” video winds and weaves through a spacial landscape of shifting imagery, projecting some of Justice’s most iconic visual staples along with plenty of stimulating graphic symbolism.

The video comes in conjunction with more good news for Justice fans. The French electro visionaries are currently amid a packed international touring circuit in support of their most recent studio album, and they’ve just added a rare live stream event to their itinerary. Adding to their list of high-profile performances, Xavier and Gaspard have been announced as the musical headliners for this year’s Google I/O conference. The set will be live streamed on YouTube on May 9 from Shoreline Amphitheater, and will include opening support from Phantogram, as well as a live debut of the new “Stop” music video.

 

Austin City Limits unveils staggering 2018 line-up with ODESZA, Childish Gambino, REZZ, and more

This post was originally published on this site

Austin City Limits is one massive annual event that every devout festival goer ought to check off their festival bucket list at least once. The two weekend Texas throw-down wrangles a staggering herd of talent year after year that brings the best of electronic, pop/rock, and hip-hop to Zilker Park, ACL’s host venue on the banks of the Colorado River with scenic skyline views of downtown Austin. Sitting atop this year’s festival billing is the legendary Paul McCartney, Metallica, Childish Gambino, Arctic Monkeys, Travis Scott, ODESZA, and The National.

Running from October 5–7 and October 12–14, ACL’s expansive 2018 lineup features over 140 live acts, providing a truly cross-genre, mega-festival experience. From Khalid and Shawn Mendez, to Deftones and St. Vincent, and Lily Allen, Børns, and Sylvan Esso in between, the C3 Presents-produced event delivers the full sonic spectrum to satisfy a range of musical tastes. With live performances by Marian Hill, Sophie Tucker, and synth pop rockers CHVRCHES, along with key electronic acts in Justice, Illenium, Rezz, San Holo, and Gryffin, Austin City Limits continues to be at the pinnacle of festival curation.

Tickets are now on sale for both weekends here.

Featured image courtesy of ACL.

Life is Beautiful returns in 2018 with a comprehensive, star-studded fifth anniversary line-up

This post was originally published on this site

Life Is Beautiful Music & Arts Festival is set to return to downtown Las Vegas with another comprehensive line-up, September 21–23, 2018. Now in it’s fifth year, the festival boasts some of the music world’s most sought-after headliners in The Weeknd, Arcade Fire, Florence + The Machine, DJ Snake, ODESZA, N.E.R.D, Deathcab for Cutie, Tyler, The Creator, and Justice.

If this group of star-studded talent doesn’t somehow tickle the ear drums, there truly is something for every musical taste this year. Also gracing the bill in 2018 is Bastille, Cold War Kids, Foster The People, and Wolfmother for the rock-minded music seekers. As the music industry’s most rapidly growing genre, rap and hip-hop is also well represented on the bill in Miguel, A$AP FergT Pain, and more.

Of course, electronic artists continues to dominate the event with trap extraordinaires RL Grime, What So Not, DVBBS, tropical house saxophonist Sam Feldt, rising star Elohim, Galantis, CHVRCHES, Alison Wonderland, Cashmere Cat, Gramatik, Lane 8, Party Favor, and Chet Porter.

Tickets go on sale April 26th, with general admission passes starting at $295 + fees. All information can be found on the Life Is Beautiful website.

Justice – Phantom Pt. II (Midnight Kids Remix)

This post was originally published on this site

midnight kids

Know for their uplifting, energetic progressive house sound, Midnight Kids are quickly garnering support in the dance music scene as one of the most promising up-and-coming acts of 2018. Although they are currently an underground project, Midnight Kids has created several moving pieces, engineering a seamless production style with an unpredictable edge. Although Midnight Kids has been producing mainly euphoric progressive house tracks, their style has shifted in their latest: a remix of Justice‘s “Phantom.”

Midnight Kids’ “Phantom” remix features a darker side of the artists’ engineering capabilities. With ominous throttles of bass, an eerie, prominent melody, and unwavering layers of synth during each climax, Midnight Kids’ remix flaunts an innovative versatility that gives listeners a sound they haven’t heard before from the two producers. They set the stage for a new tone, showcasing the artists’ diverse skill in production.

Justice reveal how they originally signed with Ed Banger in new interview

This post was originally published on this site

DFN17_SUN_JUSTICE_1, credit Ismael Quintanilla

Various periods of time serve as pressure cookers for the geographic music scenes they envelop: post-punk in the UK during the late 1970s, Seattle’s grunge scene in the mid to late 1980s, Detroit techno in the early 1990s — each period defined by the visionaries who constructed it in the first place.

The 2000s were an explosive period for French house. Spearheaded at the turn of the century by the iconic robots known as Daft Punk and their manager Busy P, a number of groups emerged under the Ed Banger record label moniker such as SebastiAn, Cassius and, of course, Justice.

In a new interview with Stoney Roads, the elusive duo revealed how they originally came into contact with Ed Banger founder Pedro Winter aka Busy P. According to the publication, the two founders of Justice — Xavier De Ronsay and Gaspard Augé — met in Paris in 2002 as graphic designers. The pair had mutual friends seeking tracks for a compilation to release on their record label, which is how the seminal tune “We Are Your Friends” come to fruition.

The two French house pioneers subsequently entered their song into a remix contest, which they lost, but the release reportedly garnered the attention of Ed Banger founder Pedro Winter in the process. A mere week later, Justice signed their first record deal on the label.

Photo Credit: Smael Quintanilla

H/T: Stoney Roads

How Houston’s Day For Night festival served as a sound intersection of curatorial excellence

This post was originally published on this site

 

1

How Day For Night festival achieved curatorial excellence

Houston, Texas’ Day For Night festival has established itself as an unconventional, hyper-sensory utopia. Bolstering an exemplary menu of avant-garde talent, the festival satiates thousands all while blurring the boundaries of performance and offering the utmost in aural phenomena in its industrial warehouse setting.

Day For Night prided itself on its snapshot booking in its third year, by and for the experimentally-inclined. Enlisting artists like Nina Kraviz, Kaytranada, Justice, Jlin, Jamie xx, Mount Kimbie, Solange, REZZNine Inch NailsTyler, the Creator, and Thom Yorke, among others, the gathering has situated itself as an unorthodox standout from an at times mundane, and largely counterfeit American festival circuit.

Words by Grace Fleisher Featured image courtesy of Theo Civitello

2

In its immersively emblematic nature, Day For Night’s third edition was a polyamorous union of music, culture, and digital art. It was a multifarious destination, and offered its attendees a mode of escapism while simultaneously defying how they explored their own, as well as others’ relationships with art and reality.

Those who attended were immersed in an epicenter of capitalism’s desolation, i.e the former Barbara Jordan Post Office, only to enter a sprawling industrial wonderland; complete with capacious lasers, fog machines, and immersive visual art open to infinite interpretations. Despite its growing pains, Day For Night was an unparalleled destination in the American festival circuit, protruding the landscape with its singularity in 2017, as it likely will in years to come, too.

Photo Credit: Katrina Barber

3

Embracement of Reflection: Houston & Beyond

It would be naive to ignore how Houston’s rampantly evolving cultural and developmental environment shaped Day For Night. A look at almost any sect of the city points to hyper-gentrification and a lack of zoning restrictions that are rendering a city of cultural depth increasingly unrecognizable. Festivals have the potential to be the 21st-century’s greatest linking apparatus, and Day For Night embraced multiple methods of coupling reflection in an immensely immersive fashion. Summits delved into socio-political discourse by way of Laurie Anderson, Chelsea Manning, Pussy Riot’s Nadya Tolokonnikova, and more. The gathering challenged its attendees toward an attainment of outward-awareness.

Photo Credit: Charles Reagan Hackleman

 

4

Woven into the very seams of artistic discourse at Day For Night was a thread on how the world’s 24-hour loops and radical advances in technology and communication are seamlessly moving faster than behavioral evolution, rendering many helpless in the interim. In a hyper-connected sect of the world, it’s ironically never been easier for one to feel helpless. Day For Night ruminated on how these very advancements can work to foster connections and discoveries in the world which will propel us further as a collective entity.

Photo Credit: Chad Wadsworth

5

Post HTX Served As A Model Venue

“The way one sees things, and the expectations one brings to a performance, or any art form, really, is completely determined by the venue,” articulated David Byrne of the seminal group, The Talking Heads.

This phenomenon of a concert space shaping context, and in turn, enjoyment, is explored in Byrne’s book How Music Works. Surely, the way in which performances are perceived en masse is in relation to the space they’re experienced in. At times this is an obvious element. Take the Black Rock Desert in Nevada, for example. Burning Man’s sustenance relies on the desert space it resides in, and while this may be an extreme example, space is becoming a deeply entwined element in the worldwide festival circuit. The relationship between attendees and venues is why scenes blossom, and it’s why destination festivals are becoming increasingly popular.

Photo Credit: Sara Marjorie Strick

6

Day For Night’s decision to place a hyper-sensorial paradise across four stages in a dimly lit, abandoned post office was a masterful one. Ironically, the nucleus of the performance venue were the veins of the warehouse, many of which contained captivating art installations. Unlit hallways that separated the “blue” stage from the intimately circular “yellow” stage, for example, beckoned an art form in themselves. For in these empty spaces, attendees prepared to ascend into visual or aural titillation. Whether it be disco balls adorned from a ceiling in netting, illuminating an entire room, moving mechanical cranes paired to ominous music, or synced screens around a ground level stage, the once-vacant warehouse was flooded with an innate intertwinement of senses.

Photo Credit: Theo Civitello

7

Exemplary Curatorial Intent

A festival’s success begins in its curatorial intent. Founded in 2015 by the Free Press Houston and the New York-based creative agency Work-Order, Day for Night established itself as a visually immersive music and art festival from the very beginning. By embedding an exploration of the elements of light, space, and sound in its mission, Day For Night has transformed the festival landscape by combining new media art with envelope-pushing musicians. It may still be a young festival, but its surely created a unique experience. Day For Night’s careful selection of artistry and curatorial intent spoke to several sects of music, tech, and art lovers. Planning such a feat does not come without intent or without a deeply embedded audience understanding, though.

Photo Credit: Katrina Barber

8

Appealing to the experimentally-inclined, for example, Day For Night brought forth Nina Kraviz, who’s on the heels of a momentous 2017, and largely regarded as a queen of techno. The festival also booked her трип (or Trip) labelmate Bjarki. Jlin, who’s set ironically rivaled her longtime purveyor Aphex Twin‘s 2016 DFN appearance, was also a standout experimental act. Her album, Black Origami, was an exemplary experimental record of the past year. Additionally, artists like Forest Swords, Jenny Hval, Shlomo, and Roni Size, all capitalized on the use of live sets as a medium for either outward, emotive release or social commentary.

Photo Credit: Julian Bajsel

9

Day For Night also booked standout artists like the esteemed Nine Inch Nails, who’ve been touring their immensely accessible EP Add Violence. Solange stunned in her Houston homecoming, merging art and popular culture with an affirming image of black pride and femininity.  Cardi B gave the 12-minute performance of the year, encapsulating a tumultuous 2017 with her ominous hit “Bodak Yellow.”  Tyler, The Creator gave a fervent performance which was brimming with tracks off his introspective new work Flower Boy. Pussy Riot, Pretty Lights, Justice, and REZZ — with her exceptional Mass Manipulation tour visuals — all expectedly stunned.

Day For Night displayed a keen understanding of the experimentally inclined, but also served as an apt pop culture gathering.In bringing together artists who continue to challenge the status quo, the festival’s curational intent was two-fold — displayed initially by the festival, and then, by each and every artist that performed.

Photo Credit: Ismael Quintanilla

10

Embedding a Festival Framework for the Future

As more and more festivals continue to emerge on the American festival circuit, immersive affairs such as Day For Night will continue to be a saving grace. It’s one thing to have an exemplary understanding of an audience, but as festival-goers grow into an increasingly digitized world, a means of facilitating connection through art and performance will be needed more than ever. Day For Night blurred the lines between its attendees and artists, it’s an environment where everyone was on an even playing field, as an observer, student of performance, and the outside world itself.

Photo Credit: Sara Marjorie Strick

See r/EDM’s highest voted electronic songs and albums of 2017 [full list]

This post was originally published on this site

The people of r/EDM have spoken.

As streaming platforms like Spotify compile end of year playlists comprised of the year’s most popular dance tunes, so too does Reddit‘s electronically focused r/EDM subreddit. The subreddit has produced a list of 2017’s “Highest Rated” songs, albums and EPs, and throwback posts, using user submitted Reddit ‘up-votes’ to calculate the year’s crowd favorites.

The democratic approach sees Reddit visitors elect The Chainsmokers & Coldplay‘s “Something Just Like This” as the highest rated song of the year with 497 votes. The full list features a total of 30 tracks, with Skrillex‘s remix of “Humble” registering in second place with 443 votes, and Illenium‘s “The Sound of Walking Away” weighing in at third with 373 points. Kygo, Martin Garrix, Marshmello, and ODESZA likewise rank, speaking to a resurgence of preference for mainstream releases among voting Reddit users. Porter Robinson‘s opaque Virtual Self alias charts twice on the highest rated list for “Eon Break” [303 points] and “Ghost Voices” [245 points], reflecting a general fondness of the DJ’s new pet project. Virtual Self’s eponymous EP is duly noteworthy for its placement as fourth on the subreddit’s grouping of the highest rated albums and EPs.

Reddit voters exhibit a collective inclination towards ODESZA‘s A Moment Apart, the platform’s top voted album of a total of ten albums/EPs with 561 points. Avicii’s Avīci EP receives the second most votes at 528, while Illenium’s sophomore album attracts the third most, earning 441 for Awake. Kaskade‘s debut seasonal album, Kaskade Christmas also emerged as a highly celebrated release, securing the eighth spot on the list.

r/EDM’s Highest Rated Throwback Posts category is as selective, as the subreddit’s Highest Rated Albums/EPs section, made up of only ten tracks. A testament to the memorable quality of Porter Robinson’s original productions, “Language” sits at the top of the list, likely gaining newfound popularity in the wake of Robinson’s foundation of Virtual Self. Skrillex’s Scary Monsters & Nice Sprites EP claims the succeeding position, while Justice‘s “Cross” follows.

The publication of the subreddit’s statistics has elicited a variety of responses from r/EDM users, with some finding the results to be an “expected” but paltry reflection of the year’s most widely acclaimed electronic releases, whereas others alternatively identify the lists as those that are accurate in their identification of listeners’ dance preferences this year. While the findings are indicative only of the listening trends of those that voted, the charts denote just where voters’ fan favorites were concentrated, with the utmost transparency nonetheless.

See the full list of r/EDM statistics here.

Via: r/EDM

Read More:

A-Trak releases playlist of favorite tracks from 2017 on Spotify

Did your favorite make the cut? Spotify releases its Best of 2017 Dance/Electronic playlist [Stream]

Spinnin Records reminisces on the year in music in genre spanning Best of 2017 Yearly Mix [Stream]