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

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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

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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


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


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



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


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


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


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


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


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


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]

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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

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Busy P hints at live Justice album on the way, confirms new SebastiAn album in 2018

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Don’t sleep on Busy P. While fellow French superstars such as Tchami and DJ Snake may currently be dominating main stages and chart positions, but as far as dance music’s original French connection is concerned, Pedro Winter still pulls the strings. Moving into 2018, Busy P and his cohorts at Ed Banger Records have plenty of good news for fans, mainly with big projects from SebastiAn and Justice on the way.

In an interview with Earmilk, Busy confirms the announcement of a new full-length SebastiAn record sometime in 2018, complementing the veteran as “one of the most talented producers around.” The label head also mentions a new Justice video in the works as well as what sounds like the early stages of a third live album from the French house pioneers sometime next year. Always coming through with the good word, keep an eye on Busy P, he’s got big things up his sleeve for 2018.

Read Busy P’s full interview over at Earmilk.

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Watch Justice perform live in Paris in impeccable full concert recording

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Watch Justice perform live in Paris in impeccable full concert recording

This post was originally published on this site

A live Justice performance is undoubtedly one of the most impressive of live dance music performances. Luckily, one of the mighty Parisian duo’s sets has been preserved on video by Arte Concert and the quality number’s now available for viewing.

Recorded at the Accor Hotels arena in Paris on their October 14 jaunt, the duo rips through a vivacious bag of tricks and tracks, adding to their legendary reputation. Newer cuts are dropped off their 2016 full-length Woman only to spliced alongside older, deep cuts all while the duo’s signature cross pulsates in the background.

With a godly performance like this, it’s obvious why so many return to the auditory altars of the duo.

H/T: Stoney Roads

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WATCH: Justice share sexually charged new music video for ‘Pleasure (Live)’ [NSFW]

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Viewers be advised, this video is NSFW.

Justice have debuted their music video for “Pleasure (Live),” the live version a redesign of the original track that surfaced on the French duo’s most recent studio album, Woman in November of 2016.

Directed by Alexandre Courtès, the mastermind behind the innovation of Daft Punk’s trademark helmets and the White Stripes’ “Seven Nation Army” video, the music video for “Pleasure (Live)” is an omniscient observation of a couple engaged in sexual relations. Refusing to avert its focus from the couple, the camera’s lens follows them along as both partners begin to glow within each other’s touch before being pierced by light saber-esque light beams.

Finding its niche within the sublime, the music video is duly racy and artful.

H/T: Pitchfork

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Justice says David Guetta releases really, really good music under aliases

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Justice says David Guetta releases ‘really, really good music’ under aliases

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In a recent interview, Justice members Gaspard Auge and Xavier De Rosnay let slip an alleged secret about another dance music great: David Guetta.

During their interview with CSTAR, the duo play a game in which they choose between things, such as rock versus hip-hop. When asked to choose between Guetta and Vitalic, De Rosnay chooses Guetta and takes it one step further.

“Guetta made a strange choice releasing really, really good music under fake names,” he notes.

Though the topic wasn’t discussed further, De Rosnay seemed hesitant about the disclosure.

What are these unknown aliases? The world needs to know.

H/T: EDM Tunes

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Weekend Rewind: Justice’s legendary ‘Cross’ turns 10 years old

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Today, June 11, marks the 10-year anniversary of Justice’s debut album, Cross — a record that is, by all accounts, an electronic music masterpiece. Spanning 12 tracks, (13 on the Japanese bonus edition), it’s easily one of the most memorable releases of the last decade, with its influence reaching far beyond the dance music sphere.

Released on Ed Banger Records and Because Music on June 11, 2007, the album went on to top both the US and UK dance album charts, even receiving a Grammy nomination for Best Electronic/Dance Album.

Ed Banger provided the following statement on the album a year ago today:

In the past year, Justice have continued to wow the world with the release of their third album, Woman, and its fascinating accompanying live show. However, as impressive as Xavier de Rosnay and Gaspard Augé’s accomplishments in 2016-17 have been, it’s important to not forget the iconic album which started it all.

Described by the legendary French pair as a “Disco Opera,” the album melds classic disco and funk tropes with heaps of distortion and gritty French flair. Consistent in its aesthetic and unwavering in its sonic exploration, the album cemented Justice’s iconic sound and laid the foundation for their status as a global dance music phenomenon.

The album begins with the cinematic opener “Genesis” — which has been used in everything from Cadillac advertisements to Assassin’s Creed trailers — before weaving through a barrage of electro, synth pop, and tantalizing electronica. The second single from the album was “D.A.N.C.E,” a tribute to Michael Jackson, which proceeded to take on a life of its own, peaking at #1 on the UK dance chart and becoming a world-wide dance staple. Other standouts from Cross include “DVNO,” “Waters of Nazareth,” and “Phantom Pt. II,” although the entire album is worth listening to all the way through (over and over and over again…).

Featured image via Julian Bajsel/Coachella.

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Listen to Justice’s 2016 Essential Mix

Justice finally return to the Essential Mix this weekend

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Justice crept out of their Parisian studio hideout this year brandishing a new full length LP, Woman, which proved to be our album of the year in 2016. The press junket behind the record was typical for Justice: a steady stream of tantalizing singles, enigmatic, rare online pop ups, and of course, a second Essential Mix (their first in nearly a decade) as the icing on the cake.

The Essential Mix was every bit as anticipated as the album itself, with fans starved to hear a broader scope of Justice’s new vision. However, just ahead of the mix’s debut, Gaspard and Xavier had to postpone their appearance due to scheduling conflicts, promising fans that the session would air before year’s end.

Delivering on their promise, the duo are lined up to take over the BBC Radio 1 decks this weekend on Saturday, December 17. The second Justice Essential Mix will arrive nearly one month to the day after Woman‘s release, and now that fans have had the proper amount of time to digest the pair’s latest studio offering, the anticipation is somehow higher now than it was a month ago.

The French electro factotums put up a strong effort for album of the year, they reasserted themselves at the top of everyone’s production radar, and now they’re primed to drop what is likely to be one of the top Essential Mixes of 2016 as well. In preparation, listen to Justice’s first Essential Mix below:

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Justice announce a live world tour in support of ‘Woman’

Justice are releasing a CD/vinyl hybrid of ‘Woman’; behold it in all its glory

Justice announce a live world tour in support of ‘Woman’

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The announcement of their DJ set in New York this New Year’s Eve is no longer the biggest performance news for French duo Justice. The group has taken to Instagram to announce a world tour in support of their latest album, the magnificent Woman.

Dubbed a “world tour,” the five dates announced — London, Lyon, Paris, Berlin, and Cologne — are certainly more Euro-centric than truly global. However, the group assuages fears for fans outside of Europe that more dates are yet to be announced. Even more enticing, the group will be stepping out from behind the decks to put on live performances.

The only downside to Justice’s tour: without other dates announced, fans will have to wait until Fall 2017 to see them perform.



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