No one can say they didn’t see these two brats coming! Justice, who’s name the world (well at least that part of the world that loves to dance) chants with emotion and whose first album is awaited with bated breath ever since the French duo revolutionised dancefloors with two radically different hits. First, the housey and uplifting “Never Be Alone" which plunged clubbers into full on hedonism. Then, two years later, the striking and screeching “Waters of Nazareth" that brought darkness onto clubs worldwide with its glitchy rhythms and sombre mood. Xavier de Rosnay and Gaspard Augé met three years ago and were both raised in the suburbs of Paris. Xavier was studying graphic design and Gaspard designed flyers. Xavier had been playing bass and guitar in dated disco bands and Gaspard played drums in average rock bands. Xavier is a chatter box, Gaspard is quiet.
A month after they met, with the help of a groovebox and a sampler, they came-up with two tracks. The first, a tribute to the Buggles, ended-up on an obscure compilation and was quickly forgotten. The second, which contained vocal samples from “Never Be Alone" by the British electro act Simian, ended-up being heard by Pedro Winter, a rather fortunate turn of events. Pedro is an important figure in the French Touch scene as both manager of Daft Punk and boss of the label Ed Banger Records through which he was trying to give a new lease of life to the concept of the French Touch that had become oh so drab by being over copied by producers the world over. At that time Pedro was looking for a B side for his label’s second release, a remix of DJ Mehdi by Château Flight.Ed Banger Records signed Justice and the test pressings went out to the world’s top DJs. The response was so positive that the track went from a being a B side to the A side. “Never Be Alone" was licensed by Gigolo, DJ Hell’s label, and that’s when the Brits got a hold of it. 50,000 copies were sold and the track ruled dancefloors for three years and announced Justice’s noisy entrance into the history of dance music. Boosted by their sudden popularity, they were booked to DJ across the planet and did remix after remix, applying their sense of Justice to Britney Spears, Franz Ferdinand, Soulwax, Scenario Rock, NERD and many more... with a surprising sense of appreciation towards the original melodies and the would be rules applied in dance music.
Cut to 2005. Instead of capitalising on their sudden success and doing a “Never Be Alone" mark two, which would have assured them a healthy retirement at the top of the charts, the duo tones it down and, running the risk of rubbing everyone the wrong way, come-up with “Waters of Nazareth". Where “Never Be Alone" was luminous, limpid joyous and pop, “Waters of Nazareth" throws the dancefloor into obscurity, upturning rhythms, popping eardrums and giving-in to the innocent pleasure of brutality that injected a much needed breath of fresh air into the electro scene. Retreating to their underground post-nuclear shelter/studio, exiting only on weekends to shatter clubbers’ eardrums, Gaspard and Xavier have been working on their first album as if their lives depended on it. The result has exceeded all expectations, a wonderful twelve track album which opens with “Genesis�?. A dark baroque beginning that introduces a mind fuck of an album that proves that Justice’s unique talent is to be found where least expected. Take for example “Let There Be Light" and its strident angry electro driven by a jabbing bassline, “D.A.N.C.E", a pure piece of vicious house