The French electronic duo delivered one of the most talked about sets at Coachella on the eve of its fourth studio album.
’s first show in six years, a swarm of devotees were camped at Coachella’s Outdoor Theater, and more were filing in. Anticipation heavied the air with super fans showing off theirtattoos and homemade Justice tees, as well as a pre-show soundtrack of…the Doobie Brothers, 10cc, and Spandau Ballet.
Their live show is maniacal, an overwhelming assault of the senses that has evolved into something so opulent it might tell the crowd to “Eat cake,” yet the men who stand at its center are famously unphased. They are the eye of a cultural hurricane, known to send fans into absolute fits should they do something as blase as light a cigarette. “We’ve seen reports saying, ‘How are these guys so calm when there’s so many things happening?’” de Rosnay says the next day backstage.
“When we first thought about , we had this idea of a transparent man,” Augé says. “It really fits the aesthetics of the music to have this moist organic matter inside something very sleek.” “They were very instrumental in the way we build Justice,” de Rosnay says, naming The Buggles, ‘80s new wavers Visage and electro-classical composer Saint-Preux’s ‘81 recordJustice’s debut album was released in 2007 through Ed Banger Records. It was a funky barrage of musical distortion, crunching so hard on singles “Genesis,” “Phantom Pt. II” and “Waters of Nazareth,” that. Those harsh moments were balanced by the euphoric disco of “D.A.N.C.E.,” “Tthhee Ppaarrttyy” with Uffie, and others.
“We don’t really give in to instant feedback,” Augé says. “We never share stuff that we’re not 100 percent sure about. When you start asking opinions and advice from too many people, it always leads to something a bit compromised.” The songs are crisp, sometimes changing from completely synthetic to totally analog instrumentation from one measure to the next. The schizophrenic “Incognito” is a good example, or the mid-song meltdown of the year 3000 lounge-funk of “Dear Alan.”
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