Justice - Cross
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CD Details
Artist: JusticeEdition: Music CD
CD Release Date: 2007-07-10
Music Label: Downtown/Ed Banger
Product features:
- JUSTICE CROSS
- Genesis
- Let There Be Light
- D.A.N.C.E.
- Newjack
- Phantom
- Phantom Pt II
- Valentine
- The Party
- Dvno
- Stress
- Waters of Nazareth
- One Minute to Midnight
Music reviews of Cross
Music Review: Justice's Cross
Rating: 4 Stars
Justice's debut album, (Cross), launched a new genre of digitally composed music when it came out in 2007. The Parisian duo of Xavier de Rosnay and Gaspard Auge stumbled upon their unknown musical talents in the early 2000s. They are best known for their image and style of music: a mix of strong rock and indie influence with distorted synths and hard cut bass lines. This style is excitingly innovative, sometimes sounding of equal parts funk, disco, acid house distortions, and hip-hop rhythms. When recording in their production studio, the duo uses several recording interfaces and software sequencers; when performing live, they are surrounded by two columns of 9 Marshall amps running Ableton on their MacBook Pros. Justice is an out-of-this-world down-to-earth team of expert composers that shows us that amateur techniques can make it big. The album as a whole shows a biblical connotation, hence the album title and some track names, yet each track on the album displays its own technique of digital composition.
The first track on the album, "Genesis," playing along with the biblical connotation shows the beginning of existence. Possibly the most widely known song on the album, it has been sampled many times in the media, appearing in video games, songs, movies and being featured in television shows and commercials. What many people do not realize is that the song itself includes several samples in the form of "microsamples" - not long enough to distinguish where they came from, even to the original artist. Throughout the album, about 400 different tracks were microsampled and used in its tracks. In "Genesis" especially are samples of Slipknot (just tiny bits of voices), Queen, and the handclap from 50 Cent's "In Da Club."
"Waters of Nazareth" evokes the group's original idea of making an opera-disco album. A first listen does not make it sound like disco, but if you can forget the hard bass lines and distortions, it sounds like a basic disco rhythm. The song resonates a sort of evil texture and, when blasted, would cause every cell in your body to shake in different directions.
"Let There Be Light" plays off a simple drum and bass beat with use of modulation frequency. The song starts with four variations of pitches of a simple frequency beat and explodes with more frequency variations and bass line.
"Valentine" incorporates sweet melody with sounds of grains or sand in the background.
"Newjack" integrates samples of different words and voices to create new words and sounds as such "Duridah Dura Duridah".
"The Party", "DVNO", and "D.A.N.C.E." are the only three tracks that include lyrics along with the music. "DVNO" sounds like a futuristic robotic jam and incorporates a little bit of phasing and a catchy tune. "The Party" incorporates actual samples of voices to embellish the singing. "D.A.N.C.E." is one of a kind (one of the more attractive songs) and was created as a tribute to Michael Jackson and the lyrics is the only one to use a children's singalong.
"Stress", "Phantom", and "Phantom II" are more of the wordless tunes and punctuate heavier bass lines with crazy amounts of synth. "Stress" has string beats piercing the rhythm while the two Phantoms have string with a nice build-up, climax, and drop of the beat.
On a last note, each individual track functions on its own, however the whole album itself functions as a whole. Typical of French tradition, Justice cleverly ends each track with the beginning beat of the next track without making it seem awkward. The whole album may be divided into tracks but in reality it is one song, one entity, and one story.
Justice has been compared to Daft Punk a lot as many people criticize that Justice adopted their sound from Daft Punk. Although some of the synths or software instruments used sound similar, Justice has a different persona and technique to their beat. All I have to say is that Justice does not use the same beat and repeat it for 7 minutes. I would also note that without daft Punk, the genre would not be existent and Justice would not have the street credit that it currently possesses.
This 13-track album was a commercial success and Justice is constantly growing in popularity. The album ranges in its sound, from video game music to old synth beats and pop dance music as Auge and de Rosnay show off their sampling and synth talents. (Cross) proves that Justice knows to how sequence music and avoid boredom, permanently rearranging the face of electronic music.
Description of Cross
Justice's monster beats, massive hooks, thunderous drums, and near-religious determination to demolish dance floors cast them in a light no contemporary can catch. The group's US debut single, "Waters Of Nazareth" arrived in 2006 and solidified their sound: huge slabs of beats, brutal strings, and cathartic release. That record sets the stage for this, their debut full-length, boasting the already ubiquitous disco pop anthem "D.A.N.C.E.", which features the best English children's choir since "Another Brick In The Wall Pt. 2".Justice is the moniker of the Paris-based production duo Gaspard Augé and Xavier de Rosnay. Their approach to crazy-quilt dance-pop hybridism is infectious, if a tad off-putting here and there. The duo rose to fame due to an MP3 single and super smart video for the excellent, kiddy-chorused house-pop number "D.A.N.C.E." in 2007, and they soon thereafter signed to the suitably named label Banger. They manage to make really silly and fun music in a way that frequently comes off in a pretentious manner. It's ridiculous to name your album after a symbol, especially if it's ?. This is not meant derogatorily. Really. Justice does appear to be that rare breed of dance artist equally capable of stimulating the body and the mind, though neither Richard James nor the Basement Jaxx need fear this act. After just one listen to "Waters of Nazareth," it's very difficult to avoid wondering "how the hell did they mix and match noise and pop so beautifully" while also dancing furiously. --Mike McGonigal
Rarely does a European DJ/dance album hit the U.S. with as full a head of steam as this one, but after the twin jabs of the singles "Never Be Alone" and "Waters of Nazareth," French duo Justice was poised and ready to follow with Cross. As a strong contender for the dance album of 2007, this 12-track debut shows Xavier de Rosnay and Gaspard Augé flexing more musical elasticity than the "dance" or "house" tags can possibly convey on their own, never mind the "French Touch" movement with which the pair is loosely and rather reductively associated. Having remixed tracks from artists as dissimilar as Britney Spears and Franz Ferdinand, the pair seems to have been building its chops for exactly this kind of resolutely defiant masterwork. From the relentless, gritty electro-bounce of opener "Genesis" and the stuttering, four-on-the-floor propulsion of "Let There Be Light," to the children's chorus of "D.A.N.C.E." and the rock-indebted "DVNO," Cross starts with a palette of house and disco beats and then throws the kitchen sink at it. The resulting amalgam boasts a tectonic range of reference without ever sacrificing de Rosnay and Augé's slavish devotion to the fine art of the party album. --Jason Kirk
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