Justice are closing out 2018 on a considerable hot streak. The French luminaries recently capped off a momentous world tour, they are hot off the heels of a Grammy nomination for Woman Worldwide, and now they’ve dropped off a brilliantly concepted new video by director Filip Nilsson for “Heavy Metal” — a standout from 2016’s Woman, and an ensuing staple in their live sets since.
The new feature is a fittingly complementary visual accent to “Heavy Metal’s” suspenseful, winding build. Enlisting Norfolk State University’s Spartan Legion marching band, one of the premier college marching bands in the country, Justice sonics can be experienced unlike they’ve ever been before, performed in a choreographed march routine. The video intersperses Justice’s version and the Spartans’ live version into one syncopated hybrid. Justice already makes music fit for arenas, but performed by a marching band takes the duo to a new space entirely, and the result is captivating. Says Nilsson,
“I came across a clip of this marching band from Norfolk in Virgina over a year ago. I immediately knew that these guys had something special and that wanted to make a music video with them one day. Months passed and then suddenly the Heavy Metal track by Justice came my way. We contacted the the marching band leader, William Beathea, and it felt like we all knew at that point that we had to make this work. I wanted his marching band of 220 people to play the track as well as create a customized choreography. We knew it would be far from easy to pull it off. It was a very strong and emotional experience working with these musicians and dancers.”
In the early days of this century, you could still turn on your television and, every so often, catch a music video. It didn’t last. Music videos still exist on television, but niche ventures like the MTV Jams Channel only exist in the shadowy nether reaches of cable subscriptions, and that’s not where music videos … More »
Skrillex had a quiet start to 2018, but the back half of the year has witnessed his return to the spotlight — and it appears there are no plans on stopping in sight. His Dog Blood project with Boys Noize recently resurfaced on Instagram and on the Buku Music + Arts Project lineup, he recently collaborated with Justice, and now he’s going in a whole different direction in producing for Square Enix and Disney’s game collaboration, Kingdom Hearts III.
Specifically, the crossover star worked alongside Hikaru Utada to create the Kingdom Hearts III theme song, which is featured in the newly released opening trailer for the game. The game is set across a vast array of Disney and Pixar-imagined worlds, and follows the journey of Sora — a young boy and unknowing heir to a spectacular power. Sora is joined by Donald Duck and Goofy to stop an evil force known as the Heartless from invading and overtaking the universe.
Utada and Skrillex’s collaboration is titled “Face My Fears,” and the track is outside Skrillex’s typical atmosphere of cutting notes and hard drops. Instead, softer soundscapes and bubbly synth combinations make for the perfect backdrop for the video game’s storyline.
Here’s a sneak peek at how the epic adventure begins
Ed Banger Records has summoned a most lustrous lineup for their milestone 15th year in rotation, with symphonic assistance from fellow Frenchmen, the 70-piece Orchestre Lamoureux.
Including sightings from Ed Banger emblems like Mr. Oizo, Justice, and longtime label-head, Busy P, the album, Ed Banger 15 Ans, is an instrumental conflation of some of the labels most celebrated tracks, performed entirely sans electronic equipment. Busy P enlisted his aptly adept comrade and accomplished film score composer, Thomas Roussel to conduct the album’s performance at the Parisian Grand Rex this past March.
To accompany the momentous release, Ed Banger has mashed up some of the label’s most memorable video releases, with the visually retrospective “I Want My Ed Tv,” which includes clips from Busy P’s own “Genie,” Boston Bun‘s “Paris Groove,” and Justice’s “Fire,” with the tracks’ respective audio paired accordingly. The album is now widely available across streaming platforms, with limited edition vinyl and CD/digital versions also available for purchase.
At the tender age of four, HARD Events said good-bye to one of its most popular festivals, Day of the Dead. Buried six-feet under the earth and grieved by many, the Southern California event was in its infancy, yet showed many signs of promise and many hoped for a long life ahead. Tragically, the festival
Ed Banger is celebrating its fifteenth birthday in the most ethereal of fashions. Known for its leadership in French electro and its unique aesthetic, the label is taking things down a notch for its commemorative 15 Ans LP, which is entirely orchestral. The upcoming album — set for a November 23 release — is an explorative one, reimagining 27 of the label’s most iconic records in a cinematic, instrumental form.
Those who know the label know there’s no shortage of incredible music housed within the Busy P-owned imprint. In addition to groundbreaking albums from Daft Punk themselves (formerly managed by Busy P) as well as Justice, countless other major league acts like Mr. Oizo, Breakbot, SebAstian, and more have continued to make new waves in their field. The aforementioned artists are featured heavily in the album, in addition Uffie’s “Pop The Glock,” “Jacques In The Box” by Laurent Garnier, and other newer releases from the label family.
DJ Mehdi, who passed away in 2011, is another key featured talent on 15 Ans. His famed “Pocket Piano” happened to be chosen by Busy P as the announcement piece for the LP, whose celebration concert took place earlier in the year.
1. Breakbot ‘Star Tripper / Back For More’
2. Breakbot ‘Fantasy / By Your Side’
3. Breakbot ‘Baby I’m Yours’
4. Cassius ‘I <3 So’
5. Mr. Oizo ‘Intra / Tricycle Express’
6. Mr. Oizo ‘Hand In The Fire’
7. Busy P ‘To Protect And Entertain / Pedrophilia’
8. Busy P ‘Genie’
9. DJ Mehdi ‘Pocket Piano’
10. DJ Mehdi ‘Tragicomehdi / Signatune’
11. Vladimir Cauchemar ‘Aulos’
12. Uffie ‘Pop The Glock / Difficult’
13. Boston Bun / Borussia / Feadz ‘Paris Groove / Kinda Love / Metaman’
14. SebastiAn ‘Motor / Prime / Hudson River’
15. SebastiAn ‘Embody’
16. SebastiAn ‘Tetra’
17. Krazy Baldhead ‘My Soul Is Like A Tree’
18. Laurent Garnier ‘Jacques In The Box’
19. Mr Flash ‘Champions’
20. Para One / Myd ‘Elevation / The Sun’
21. Justice ‘Genesis / Phantom / Phantom Part. II’
22. Justice ‘On’n’On’
23. Justice ‘Safe And Sound’
24. Justice ‘D.A.N.C.E.’
25. Justice ‘Canon / Alakazam ! / Horsepower’
26. Justice ‘Stress’
27. Justice ‘Waters Of Nazareth / We Are Your Friends’
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.
After their successful 2018 edition of HARD Summer (you can read my review HERE), HARD Events has been teasing at the return of its famed Halloween/Dia de los Muertos festival. Fans have been eagerly awaiting the “resurrection” of the L.A. event and today the ever important line up was revealed ahead of ticket sales. The
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.
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.