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Justice (Ed banger Records | FR)
http://www.facebook.com/etjusticepourtous
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風光橫掃全球、淪陷各大夜店舞池，在這電氣風潮中快速發酵的Justice，由Gaspard Auge和Xavier de Rosnay兩位法國音樂人於2003年組成，以大型十字架為醒目標誌。於法國一場名為Eurovision混音大賽中，以其優異的突出表現，被EdBanger廠牌發掘並納入旗下。2007年發行首張專輯“†＂，迅速於法國突破10萬銷量，並登上美國告示牌電子榜冠軍。媒體排山倒海的好評蜂擁而至，而後更入圍葛萊美『最佳電子/舞曲專輯』、並以單曲「D.A.N.C.E.」雙提名『最佳舞曲錄音』和『最佳短片音樂錄影帶』兩項榮耀！2011年，推出第二張專輯大碟Audio, Video,Disco，兩位鬼才從實驗取樣中滲出搖滾血液，不僅攀上法國榜TOP 5榜位，更搶攻英美兩地流行榜Top40之列。風格獨特的奇幻電影【超能輪胎殺人事件Rubber】，也邀請到團員之一的Gaspard首度跨界協助原聲帶配樂大任，展現獨有的法式音樂創意。
[youtube]https://www.youtube.com/watch?v=sy1dYFGkPUE[/youtube]睽違5年之久的2016全新專輯“Woman＂，Justice依舊不假他人之手地獨自完成所有詞曲撰寫、製作大任，並找來2008年成軍的倫敦室內管弦樂團(LondonContemporary Orchestra)協助伴奏，於現代流行舞曲中，加強古典的柔美輔佐，突顯以女人為主題的華麗魅惑。還有邀請法國歌手Romuald、英國電氣樂團ZootWoman的主唱/吉他手Johnny Blake、美國獨立搖滾樂團Diamond Nights的MorganPhalen再度前來情義相挺！開場的「Safe And Sound」，贏得各傳媒的好評推崇，包括：滾石雜誌【自1982年Patrice Rushen的經典「Forget Me Nots」以後，又一首迷幻迪斯可詩篇，建構在隨樂搖擺、電子串連弦樂、混融爵士以及躍動貝斯旋律之中】、娛樂週刊【忠於原味的聲響，引領現代電氣樂迷至70年代的迪斯可風潮，值得一聽】、電子樂聖經mixmag【完美混融懷舊和時興聲調，同時注入豐饒的放克節奏，加上洗腦的副歌詞句，令人一聽上癮】；飛揚的Synthpop與搖滾緊密結合之「Randy」，配置Morgan Phalen渲染力十足嗓音搭腔，讓聆聽心情好得沒話說，準備引起各排行的騷動；還有R&B/Pop的「Pleasure」、「Stop」和「Love S.O.S」繼續翻轉Disco樂章，精心雕琢超乎想像的耐聽旋律！
[youtube]https://www.youtube.com/watch?v=hw3d9KTYHIE[/youtube]Back in 2007 Justice’s crunching deconstruction of techno, pop, R&B, electro, funk, metal and pretty much anything else that took their fancy established the pair as one of France’s most vital musical exports. Their second album, 2011’s Audio, Video, Disco, pushed the sonic boat out even further. A bombastic aural wallop whose classic ’70s rock flourishes owed as much to Queen and Yes as it did Frankie Knuckles or Prince, it saw them embark on rapturously-received world tour that took in headline slots at Coachella and Lollapalooza.
The first taster fans had after a five-year studio silence, « Safe And Sound » is the perfect fanfare for what lies ahead. Built upon a bedrock of slap bass workouts and glistening synthesisers, the sense of drama is ratcheted up by swirling Love Unlimited-styled disco strings.
Woman’s journey catapults you from the elastic R&B pop of « Pleasure » straight into the rush of « Alakazam! ». Twirls through a dazzling bout of thumping electronic piano and clavinet sparring during « Fire »’s dancefloor peacocking, barely pausing for breath before it lands at « Stop » – a sparkling, bittersweet slice of disco pop that boasts one of the best chorus the pair have ever had on a track.
Featuring Audio, Video, Disco collaborator Morgan Phalen on vocals, « Randy » has a melody Michael McDonald would have killed a fellow Doobie Brother for (if MichaelMcDonald was into gut-shuddering electro that is). « Love S.O.S », meanwhile, sounds like the greatest disco anthem you’ve never heard, striking the perfect balance of euphoria and heartache while a synth wails like a police siren throughout.
It’s mirrored in a more live approach to recording. At least that’s what it initially sounds like. What you think is a live drum track turns out to be a heavily treated 808 and what sounds unmistakably like a theremin transpires to be a woman playing a musical saw. The songs themselves too are almost impossible to pin down. Coming halfway through the album, Chorus jolts the listener out of any concept of what the record is going to promise next. What is it? Glitch techno? Sci-fi prog? Celestial disco?
Only a fool would try to second guess Justice. And that includes Justice themselves.
event info：https://goo.gl/95LVSL
