LE FIGARO.- That is the Grammy Awards that you received for your album of remixes of Woman Worldwide in the face of punters like Jon Hopkins?
Xavier de ROSNAY.- Everything and nothing at the same time. A Grammy, it is very prestigious. But this does not necessarily mean that we made the best album of the year, even though we are very proud of. If winning at the Grammy Awards means that you have made the best album, it is also necessary to accept the idea that when you lose what is already happened – it is because your disk is not the best.
Woman Wordlwide is a medley of three original albums. This Grammy dedicates fifteen years of his career?
X. R. It is rare to win a prize with an album that does not contain really new music. The next live has certainly played in our favour. The report affective of some of the voters vis-à-vis the group, too. Sincerely, it was thought that Jon Hopkins was going to win.
When you create a piece, do you think of the live version that should flow from it?
X. R. Not really. Doing concerts and making records are two exercises are completely different. In concerts, it is in the effectiveness. The music must be simpler and more aggressive. For the music composed in the studio, we never think about its effectiveness on the people. It has no other function than to be pleasant to hear. For this tour, we wanted to play only in the festivals because we wanted to reach a majority of people who do not know our directory. I think that only 2% of people who buy a ticket to come to see us. The others come for the entire festival. Thus, the aim is not to seek to satisfy the 2%, but trying to put on a show to all the world! It is necessary that each piece works on any viewer, including the one which is 250m from the scene and who does not know Justice.
Gaspard Augé.- the scale of the festivals in which it plays, it is really below the radar, “mainstream”. Question reputation, we are well below Travis Scott, who plays on the same scenes as us. It is thus necessary to catch the public with large strings than we would ever use on a disk. However, it is possible to use them without disguise our aesthetic, or our songs.
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Is it difficult to go back to your musical universe?
X. R. Not necessarily, but it must be in good conditions and have the desire. In the current musical landscape, in electronic music, we are a little out of category, because our music is not really dance. There is not Eurodance and 1990, which proved a massive hit since a decade. Calvin Harris, for example, it is totally Eurodance.
G. A. This is where the set design help to make pass the pill. For example, a song like Heavy Metal this is not at all friendly. It has a structure completely anarchic, but yet it is one of the songs that work best live.
X. R. I love watching the audience when we play this song. When the title is quiet, they are all still dancing. As soon as they stop, the song picks up again. We like to surprise people.
During your concerts, you do not hesitate to mix several pieces. It is a bias to art?
X. R. This idea of the blend comes from our culture of DJing. Prior to 2007, and our first concert, it was only DJ sets. We quickly realized that mixing the portion of a song that people are familiar with the passage of another piece that many are unaware of the existence makes our music more accessible.
What is the share of samples and the music organic in your compositions?
X. R. there is not a lot of samples. Songs based around a sample, we had to make only five or six on three albums. This is the case of Phantom by example, for which we took Tenebre of the Italian group Goblin. When it is used, it is usually to replace melodies or bass lines that have already been made.
G. A. Often, this is how to operate the machines that dictate a little bit the way of composing. For each album we buy the new equipment and sells the old one. We are looking for a work interface is different.
With Cross and Audio, Video, Disco , your first two albums, you’ve shown the extent of your influences rock. Did you imagine, ten years ago, this mix between electronic music and rock, metal could be so harmonious?
X. R. I don’t think that one is the first to have done so. In reality, the standard meter of this music style, it is The Rock 01 of Vitalic in 2001. But our music is never really metal. We especially love the song, and pops in particular, and we listen to very little electronic music.
you’ve often opposed to Daft Punk while your music are complementary. How did you live this supposed rivalry?
G. A. They have experienced the era of “rave parties”, not us. We will say that we are the generation after.
X. R. We were especially pleased to be compared. Already because it is a very good group. And then, he would have been curious, that person does not make a link when Pedro Winter (former manager of Daft Punk, ED) is the head of our label. This brings us closer to the most of Daft Punk is not so much musical. It is simply the fact of being a duo, to be French and to play electronic music. Even we never worked together. Except once, when Thomas Bangalter has helped us on a remix.
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In 2011, Audio, Video, Disco included an instrumental dimension very clear. Have you ever been tempted to surround yourself with musicians on stage?
X. R. No, we prefer to be both. We also like the accuracy of the sound generated by computers, the power that emanates. We play a lot of instruments but not very well. On stage, with musicians, it would be the two who play the least (laughs).
G. A. What are our limits that define our style. If there were a professional of the piano or the bass, our music seraient different, it would not be the style of Justice.
what is Iris: A Space Opera , your movie that comes out on 13 march?
X.de A. for twelve years as we try to film our concerts and this has never been satisfactory. On the occasion of the tour Woman, asked André Chemetoff, who is an excellent cinematographer, to work with us ; he had worked on our clip. Stress , directed by Roman Gavras. We chose a place that is not a concert hall, without an audience. The result is a sort of documentary of NASA, with very few plans, inspired by epic films such as Alien or Blade Runner .
Your label Ed Banger records celebrated its fifteen years of existence with a symphony concert conducted by Thomas Roussel. The classical music she counted in your artistic journey?
X. R. This is the music that conveys the strongest emotions, in my opinion. It is universal. The harmonies in this are the biggest vectors of emotions. But sometimes, it creates pieces that are completely devoid of any harmonic basis. I prefer to listen to a song well written and poorly produced a song poorly written and well produced.
What are the artists you like today?
X. R. The energy of a group such as Cashmere Cat, who proposes something new and adventurous, me bluffing.
G. A. I love Vulfpeck, they are virtuosos. There is an infectious enthusiasm in them, then they make music that is very knowledgeable.
