Justice

Justice, the French electronic music duo composed of Gaspard Augé and Xavier de Rosnay is the gift that keeps on giving.

They just released an incredible new album called Hyperdrama that not only sounds like the best possible night out in Paris, but brings in touches of jazz and experimentation that feel new for the group. They also just co-produced the opening track of The Weeknd’s latest album, a song called “Wake Me Up” that finds a  brilliant way of harkening back to Michael Jackson's “Thriller.”

Today Justin Richmond discusses the creative process behind The Weeknd track, Justice's new album, and whose drums they sampled on their first album Cross.

You can hear a playlist of some of our favorite Justice songs HERE.

See omnystudio.com/listener for privacy information.

Episode Transcript

Speaker 1 (00:15):
Pushkin Justice, the French electronic music duo comprised of Gaspa
OJ and Xavier du Rone, is the gift that keeps
on giving. Not only did they soundtrack every great party
from the Mad Dots On along with fellow countrymen Daft Punk,
of course, but they're keeping the party going in twenty

(00:36):
twenty five. They just released an incredible sounding new album
called Hyperdrama that not only sounds like the best possible
night out in Paris, but brings in touches of jazz
and experimentation that feel new for the group. They also
just co produce the opening track of the Weekend's new album,
a song called wake Me Up that finds a rather
brilliant way of hearkening back to MJ's Thriller. We discussed

(00:59):
the creative process behind the Weekend track their new album,
why they've never been able to reproduce their iconic Cross
logo in real life, and who's drums they surprisingly sampled
on their first album Cross. If you'd like to watch
the video of today's episode, visit our YouTube page YouTube
dot com. Slash the Broken Record Podcast. This is Broken Record,

(01:22):
real musicians, real conversations. Here's my conversation with gaspar Ouja
and Xavier Drone of Justice. What music did you grow
up with me?

Speaker 2 (01:37):
You know, you always have a cuisin, an older cousin,
or a big brother, and my case was an older cusion.
He was really into the old school hard rock stuff,
like a Metallica Iron Maiden, So I grew up with
listening to his tapes. Then I moved on to grunge
a bit, because I mean I didn't really choose it,

(02:00):
you know, it was what you were exposed to on
MTV and everything. Then I had a new metal phase
for a short time, not so sure.

Speaker 3 (02:13):
Any any specific any album, Yeah, you were talking about
it and on the way here, like I was willing
to con and uh but like yeah for a few
albums and and uh yeah, and I had readlocks because
of them for a short time.

Speaker 2 (02:34):
So I'm sorry for over sharing. But there's like, for
those who know how to search, there's on Google there's
one picture of him with red locks. So for for
all the really big girls here, I'll be what is
what is one search? I will not We've said everything,
so now if you're really the girl, you will find it.

Speaker 1 (02:53):
Responsibilities on us to find it.

Speaker 2 (02:56):
Responsibility or guilt because you don't know what what you're
gonna find. It can be easily made with a idols
might make you. However, to look at this picture.

Speaker 1 (03:07):
Oh man, I had dread lock still, but I think
it's just a little different probably.

Speaker 2 (03:13):
But somehow I can imagine it's not that's bad. You know.

Speaker 1 (03:19):
Did you have a new metal phase?

Speaker 2 (03:21):
No? No, never. I mean like like like like one
of the first albums I really loved was the first
regigaenst the Machine album. But that's not I mean that's
new metal technically because it's a guy rapping on metal. Yeah,
but it's it's much more than this. You know.

Speaker 1 (03:39):
They kind of created it sadly maybe in a way,
although you know, like.

Speaker 2 (03:44):
Yeah yeah, like like it's the only band I've ever
listened to in that type. No, I just handed a
bit too a band then Squad too that was like
the Dutch equivalent of regigaenst the Machine.

Speaker 1 (03:57):
What were they?

Speaker 2 (03:58):
Oh band? Then Squad the medal track called magog Listening.

Speaker 1 (04:03):
What was your trajectory in terms of what you started
listening to and how alone?

Speaker 2 (04:09):
First the first album I Boat was a doggie style.

Speaker 1 (04:16):
And the Dark Star Yeah, so it's beautiful, yeah, yeah.

Speaker 2 (04:21):
And still today, I love this album and I still
listen to it and and because of this album, I
started to listen to Parliament and Funkadelic and so my
second city, the second CD I bought was Uncle Jam
Wants You, And that's fun because I bolted because it's

(04:45):
because he only has eight songs on it. It was
less expensive with cheaper than the other ones, so that's
why I bought this one, and I didn't really like it.

Speaker 1 (04:55):
First.

Speaker 2 (04:55):
I liked knee Deep and a Freak of the Week,
of course, but years after my favorite songs on them
on this album are more like a film Maneuvers and
only Wants to Go to California. That are not the
songs that I liked at the moment. But but because

(05:15):
I didn't have money and I forced myself to listen
to this record over and over and and and and
like all good things, it's it's like, really of Tony,
it's not the things that strike you first that stay
with you, but more the under dogs songs and uh
and yeah, I miss that a bit with like the

(05:37):
new way we listen to music and not being able
to like I can't like and I'm not scared, but yeah,
I'm scared of thinking how many of my favorite songs
I missed because I just listened to the singers or
like the most popular songs of an album or an artist.

Speaker 1 (05:56):
It's really easy not to listen to a full album.
I mean, I'm so guilt. I hate listening that way,
but I'm completely guilty of it, you know.

Speaker 2 (06:02):
Yeah, yeah, it's it's very easy, but but but easy
way of of not doing so. And this is what
we do a bit still is buying vinyls, Like the
albums I really want to listen to, I buy vinyl, yeah,
and then I just I just put it on and uh,

(06:23):
and I try not to do anything else. It's very
difficult not to be tempted to listen to record and
watch something else at the same time. But it's but
it's worth it. Yeah, yeah, yeah.

Speaker 1 (06:34):
It's like reading a book these days. It's like you
have to if you dedicate yourself to do it, it's
worth the time. But yeah, it's hard to slow yourself
down enough to.

Speaker 2 (06:42):
Yeah, and exactly the same way, like like it's it's
really rare to get into a book before you have
read at least like one hundred pages of it and
then it's it's like you you start getting in it
and and you stop reading and you start just like
fluing in it and do the same with the record.

Speaker 1 (07:01):
Yeah, yeah, what do you think it is about the
Snoop Dog record about dog Star that makes it still
good today?

Speaker 2 (07:12):
Everything like like like first is that pretty much every
song on Dougie Style is a nassemblage. It's like a
blend of like three songs of a Parliament and Frankadelics,
So they're starting from a good material and then doctor
dre as the great producer that is, he made it

(07:35):
the right way to make this song in something modern
and sometimes even better than the original tracks that he sampled.
And Snoop at this moment was, yes, such a cool
character he was at the same time, Uh a bit
especially for me because I grew up in like a

(07:59):
white Paris suburbs, so that was the exact opposite of
what I what I knew, you know what I mean.
So it was so exoti fascinating, Yeah, fascinating. You know.
His rap was amazing, like yeah, there's so many, so many.

Speaker 1 (08:19):
His voice was really good. I mean it's still it's
still iconic and still sounds but when you do listen
to that era of him, You're like, wow, his voice
was particularly.

Speaker 2 (08:28):
Yeah, very specific, specific voice. It doesn't sound like anyone
else in the rap and and yes so no yeah,
and even like the cover like this Bad Lead Rone cover,
it's like completely yeah, amateur fanzine thing. It's yes, so good.

Speaker 1 (08:48):
Yeah, similar to like how Parliament funk Delic color album,
I mean the album covers are. That was paed Ro
Bell that did the Funkadelic and Parliament covers, and then
it was just guy Joe Cool from Long Beach it
just died recently, that did the Snoop Dogg cover. But
I always felt inspired by like those hand drawn Funkadelic covers.

Speaker 2 (09:08):
To me, it is but but but the Parliament scatic
ones are like they have a level of professionalism that
the Snoop one doesn't have. But this is more psychedelic.
And this is when the Snoop ones are great because
they really feel true. You know, is a bit like
it's not really well drawn. It looks very here, very rough,

(09:33):
but it suits the project perfectly for you.

Speaker 1 (09:36):
Listening in the music was it was the art work
important because you guys, we're both like graphic designers before.

Speaker 2 (09:43):
Yeah, and and and I mean especially like back in
the days when you had to to save money to
buy your record, so obviously you would go for the
cover you liked better. And if you had the choice
between two records you wanted to get, and and and yeah,

(10:03):
and and we bought like so many vinyls just for
the cover. And sometimes you have this this perfect like
match between what the cover is and and the music.
But yeah, like we we definitely like did our graphic

(10:27):
design education through vinyl covers and stuff like this because
it's the perfect format and it's really like the the
blend between like typography, photography, illustration and and on such
a like concise square. You know, it's just perfect.

Speaker 1 (10:50):
Yeah, yeah, did you guys draph from a young age.

Speaker 2 (10:57):
Yeah, we we both wear But but I guess Part
rose pretty well. I think I'm not too good now better,
but you're very good at this, is very good at handwriting.
You can really has a school graphity guy past. You know.

(11:18):
Now I'm good at analytic drawing, but I'm not good
at illustration. And guess part is a better illustrator.

Speaker 1 (11:23):
So analytic drum you mean more like like like.

Speaker 2 (11:29):
I call it like this because it was the name
of the courses we had. But it's like, if if
you show me like an object with the structure, I
can I can enjoy it because like analytic drawing is
about understanding the structure of something, and but I'm drawing.
It's this, you know, it's understing how things are made
and then just like draw them. So this I can do.

Speaker 1 (11:51):
So you draw more the way like an architect or engineer, I.

Speaker 2 (11:55):
Wouldn't go that far from more that direction. Then no, no,
because like I can draw human body or whatever. We
had like anatomic courses, so I understand how it's made
and I can do it. But that doesn't make me
a good drawer. Like a good drawer someone that can
transfer good idea into a drawing and make you feel something.

(12:16):
If I draw a spoon, it would look like a spoon,
but you will not feel anything looking at it.

Speaker 1 (12:21):
That's funny, man, did how how did you two come together?

Speaker 2 (12:28):
We met in a in a party in a kitchen,
because it's always in the kitchen that you're having the
most fun at parties most of the time, and just
through common friends, and we started like like laughing about

(12:49):
what is still making us love today? You know, like
just a bit of absurd humor and like just just yes,
stepping away from reality and finding precise words to have
fun of it. You know, I think it's if we
are our favorite and humor is. But I mean, the

(13:11):
best humor is always about precision in terms of words,
you know, the choice of worlds to describe something.

Speaker 1 (13:18):
Yeah, how did you guys bond over music?

Speaker 2 (13:25):
We both had a few like pieces of gear, but
it was really radimental. Does it exist that word radimental?

Speaker 1 (13:33):
Yeah?

Speaker 2 (13:33):
Yeah, okay?

Speaker 1 (13:35):
And elementary yeah.

Speaker 2 (13:36):
Radimentary okay. And and at the time we used to
hang out a lot in pown shops in Paris, but
they used to have like some pieces of equipment like
synthetizers and also records, and we could not afford the synthesizers,

(13:58):
but we would buy records and listen to them. And
the common friends that introduced us to each other. How
the indie label, like a proper indie label, where they
were like burning cities and then mailing them out by hand,
you know, printing the covers on a home printer, So

(14:21):
that was like a proper one. And the and yeah,
two things happened at the same time is that they
were making compilation and asked all their friends to make
a track, so we decided to make one together and
at the same time we received the stems of Simeon
never Buloon for a remix contests in Paris, and this

(14:46):
is when we made we Are Your Friends. So that
that was, yeah, the first track we made alongside the
other one that we met for our friends.

Speaker 1 (14:53):
That's really graz thought for sure. The must have been
a couple more songs before that that just never came out.

Speaker 2 (14:58):
No, No, that was really like the beginnings. And we
didn't have a computer at the time. We had like
a Chai S two thousands simpler, uh gas band, had
a Boss drum machine, doctorism, a cop Poly eight hundred,

(15:20):
and we had like a Maquis mixer, uh an Archai expander,
so that was doing your piano sounds. And yeah, that
was made with this with no computer. We burned to
CD and that was the master of the track.

Speaker 1 (15:34):
Did you guys even know how to use all the
equipment just yet or was it kind of just experimenting
the figure out how to use it? And then now we.

Speaker 2 (15:41):
Still don't know to be honest, nor for real, like
like synthetizers are really not good at it. But because
like to properly use a synthesizer, you need to understand
like the electric architecture of us, because this is electricity
running through things, you know. Yeah, and we never made

(16:01):
the effort of learning. So if we have a citylizer,
if we find like a good preset that we like,
we can tweaky to beat to make it sound exactly.
But we can't, like if you will hand us like
a mini moog or harp or whatever. We can't start
from like a noise or no ocillator and then get
what we want. You know, that's impossible to do.

Speaker 1 (16:24):
And did you guys play do you guys playing instruments
before that?

Speaker 2 (16:28):
Yes, we used to play in high school bands. I
used to play bass and guitar, and Guess drums and piano.

Speaker 1 (16:38):
We're never in the same groups.

Speaker 2 (16:40):
Oh yeah we did, yeah pre internet. Yeah, at the
same time as we started Justice, we were in the
backing bend of a friend of us and Guess but
was playing the drums and I was playing the bass.

Speaker 1 (16:54):
Well, you guys probably lacked in rhythm section.

Speaker 2 (16:56):
We guys like, yeah, we're not that tight. Yeah, yeah,
we were that now, thank god the computer happened. Yeah,
computer saved us.

Speaker 1 (17:06):
So how did you guys, how exactly did you put together?
We are your friends, how did you guys manage that together?

Speaker 2 (17:14):
But so we received the stems for this like remix
contest that was on a on a student radio in Paris,
and uh, and because we didn't have a computer, just
a sampler, we listened to the vocal parts and we
asuly is related the chorus because we couldn't, like there

(17:35):
was not enough memory of the on the sampler to
take more. And we looked that thing and then we
started like writing music on it. And we didn't even
listen to the original track because we just had these
stems and uh, and so we we just wrote music
to those, like to those vocals exactly the same way

(18:00):
as if the guy was here like singing something and
we would just like play with him. And but but
the process is still the same same today, Like we
just like play around and.

Speaker 1 (18:13):
You both each will have something and you'll play against
each other or you'll each.

Speaker 2 (18:18):
Uh, it depends. It's like sometimes we play together, but
it's pretty rare. Like most of the times we take turns,
like like one of us he's like starting something and uh,
and then when the other one has an idea or
when the other one sees that the other one is

(18:41):
like has like he's just like circling around, just jump
in and then continue. And that's how we make things
most of the time.

Speaker 1 (18:50):
It feels like from the beginning and maybe I'm wrong,
but it's just my impression from having well and it
actually we get to that next it from you as perspective,
how did We Are your Friends get as popular as
it did.

Speaker 2 (19:05):
It's diffintively slow burner because it's like, like the big
luck that we had is that we made this track.
We lost the contest and we met Pedro Winter like
two weeks after losing the contest. We knew who he

(19:25):
was and for those who don't know, like at the time,
he was a Death Mounk's manager, and so we end.

Speaker 1 (19:33):
Up and yeah.

Speaker 2 (19:36):
Exactly, and he ends up coming coming to gas Path
place for dinner because our friend bertrand Somi was like
working on ed Banger the label with him and they
were just starting it together, and so we we knew
that he was looking like for like new artists and

(19:56):
that he was a Death Monk's manager and he was there,
so we at some point we told him making some music.
We haven't made much, but we can play you the stuff.
So we just had we are your friends to play
him another track and we played it to him like okay,
so we made this for contest. We lost, but we werena,
we're gonna make more ifever you're interested, and he was like, nah,

(20:19):
like give me this one. I want to release this one.
So like yeah, basically, like two months after we started
making music, we were signed to ed Bunger with this
guy that was a French hero, you know. So we
are very very happy and excited and he released the
track not with not too much response. I mean it

(20:48):
was okay, but it was not crazy. But because that's
always the same thing, like like you can you can
be like with a manager, you can be the biggest
band in the world. If you do like a side project,
you start from zero again. And with that BEng girl,
I started from zero again like like people who were

(21:08):
interested in Dastank of course, but not in the new
stuff he was doing.

Speaker 1 (21:12):
It's like, let me play the stuff.

Speaker 2 (21:14):
Yeah, So he was really like doing it like a
Garia style, you know, like he was like pressing like
five lynd records. He was like driving on his like scooter,
putting them in record stores by himself. So it was
very like all handmade. And then I think one year
and a half after it gets really released on Gigolo Records.

(21:37):
It's the German label in Munich, it's a DJ hel
record label. And then in two thousand and six it
gets released again on Virgin Records, and this is when
it started like becoming something more. So that was three
years after after we released it.

Speaker 1 (21:59):
She has made it in two thousand and three.

Speaker 2 (22:01):
Yes, but everything we do is like slow. We only
make slow burners, you know it. So d NC was
the same our first album. It's only after like one
year or something that we saw like like the first
hundred one hundred thousand copies of it. Really yeah, it

(22:22):
was like all very slow. What was of Nazareth? Our
summon track was really slow, so like we had we
saw the foots of that like one year or two
years after. So yeah, like like making like an instant
hits is definitely not our forte.

Speaker 1 (22:42):
We'll be back with more justice after the break. My
memory of the first album was like that it was
kind of like instantly popular, like you know.

Speaker 2 (22:56):
Because your trendsetter. Maybe it was for you, maybe it was, yeah,
but but it was not for the for the for
the people in general, you know.

Speaker 1 (23:03):
Yeah, yeah, yeah, because I remember, I just remember everyone
having like we are your friends and everyone parties in California.
You would play it and everyone be like, oh, like
there's no like remembering, like there's no album. Like that's
weird because it sounded like such a like a coherent
sounds like they must have like a bunch of stuff
and remember like there's nothing, like where's the other stuff?

Speaker 2 (23:23):
And then now, yeah, it's fun because we are your friends.
I guess like Siman did it, and and and probably
with some kind of tongue in cheek like intention, and
and and and so we kind of took this element
out and and and it became like this very almost

(23:44):
like very positive and almost naive, you know, like lyrical
content and which is something like we could never come
up with, you know, like just saying we are your friends,
You'll never be alone again. It would be impossible for
us to to yeah, to get along with those lyrics.

(24:06):
And I guess this is what made the track popular
as well, is that because the music goes into that
kind of naivty direction, but with more more groove, and
obviously it's more repetitive, but it's it's its completely like
changed the angle of the track. Go ahead now, Yeah,

(24:30):
it's it's interesting because I can't imagine like coming up
to Gaspan and telling him you listen, we're gonna make
a song. It's gonna say where your friends, You'll never
be alone again, so come on and sing him the
hood and him saying, yeah, let's do it right now.

Speaker 1 (24:46):
I know.

Speaker 2 (24:47):
I think it would look at me and tell me
like to fuck off. So it's it's very interesting. Like
when we make music, we often think of this, like
like would we be able to come up with the
reefs such as like seven National me from is the
best example of a reef that like if we we

(25:07):
would find it, I think we would studied immediately. Uh.
And the genius of those people is to manage like
to to think, to like recognize what's gonna be, like
something huge, and then be focused enough to manage to
finish a track with it.

Speaker 1 (25:23):
Yeah, to your point, guys, but like that is such
a naive lyric. But the way you guys, what you
guys orchestrated around it does almost make did make it
sound a little tongue in cheek, you know, like.

Speaker 2 (25:37):
The yeah, because the way he thinks it is like
very intense, like he's screaming, you know, and it's almost
like keyless in a way, you know, like but it's
just yeah, I guess it's just very positive and powerful
and and and also like people can relate to it

(25:57):
because it's screamed as well. Yeah, and it's not like
you know, to to what's the world to sweet and
it's yeah. But when actually, when the guys from a
San received a remix, they didn't like it, so we

(26:18):
lost the contest and they they sat it sounded like
medi jazz, which is not too far from the truth,
you know, when you listen to it sounded like what
media jazz meddi jazz. Yeah. James Ford described the song
as being medi jazz. But that's fun and fair enough.
It technically this is what it was. You know. It

(26:41):
was all medi with like some kind of like a
course with like a more than free not in it.
So yeah, that's medi jazz.

Speaker 1 (26:48):
You know, there are peggiated kind of thing almost like
I guess video game music sometimes too.

Speaker 2 (26:54):
It could be that, you know, Yeah, but there's are
such amazing tunes like the Mario Ones and they are
inspired by like jazz tunes and everything. So yeah, yeah,
it makes sense.

Speaker 1 (27:03):
With the sounds that you guys, because like that sort
of distorted the size of sound, like how did you
guys come up? Come on CONCRACD? Like how did you
guys die that sound?

Speaker 2 (27:16):
But the first thing is that is that when we because,
for example, to make baselines, so we use like the
base pre set in the Ark two thousand and player,
so it was like maybe like one octaves and a
half of base notes, but they sound like very uh
sterile and the record, and so we would crank it

(27:39):
to make it sound more real. Uh. So that that's
the thing, is that a lot of the because a
lot of the sounds that we have didn't sound good.
We noticed that if you compress them like four times
and you distort them, they start sounding good and and
uh and also at the time, we used to listen

(28:00):
to a lot of Zoo Gaming. I don't know if
you know this Japanese UK band. It's really good. Well
z O n G A M I N it's the
guy like the main guy is a so English, a
Japanese bassist and is a virtuoso, such a good player,

(28:22):
and Zong Gamme is kind of like, yeah, disco psychedelic
rock instrumental. It's like, it's still one of the best
albums of this decade today. We used to listen to
a lot of The White Stripes too. We love the
sound of it. And so we knew that how we

(28:44):
felt that distorting and over compressing things were making them
feel better for us, also because we had no idea
what we were doing, you know, so that's the shortest
pass to something that's satisfactory. And then in two thousand
and four we build a computer because we could finally

(29:04):
afford one, and then we found out about the digital
distortion and how far you can go with like compressors
because also like when we are only hardware, we only
had one compressor. Now we could put like sixteen compressors
on one channel and uh and just chain like distortions

(29:28):
and everything and uh and it just yeah, opened a
new world of possibilities to us.

Speaker 1 (29:35):
Wow, and what what about you know you're you're talking
about how you just the storting because you didn't have
in your mind good sounds or the storting was the
best way to come up with something satisfying. But I
feel like your drum sound dating back to at least
the first record too, I think drum sounds always seemed

(29:59):
really clean to me. Not or am I am I misremembering?

Speaker 2 (30:04):
No, No, I mean they are clean, they're just very
on the first album where without going to technical like
on the master Bus, there was so many distortion and
so much distortion and compression that whatever we would put
in our session, we had like to lower the gain

(30:25):
but at least like thirty six DB's for it to
some normal And most of the drums on the first
album they come from like there's a track on Show
by Stilly Done where we took like a kick and snare,
and also we had like some drum parts from solo

(30:49):
Waks that we use, so they are live drums, but
they are so compressed that they sound the way they are.
We're not into like distorted drums in the sense that
we we don't like when we when I don't like
when I listen to record and I can pick sure

(31:09):
like the drummer hitting like very hard. We prefer like
the soft touch, and so we would try to make
them sound as not soft but like not hard hitting
it is possible. So that's why we never put any

(31:32):
what's the world any he rebel discorsion on the on
the drums. We don't want them to do like or
just out of curiosity. If you looked at the track
or from Gaucha, which we able to pick which one
it's seem so that's a time out of mind. Wow,

(32:02):
that's amazing. Were you did you guys? Were you still there?
Fans not fans, but but we we we liked the
for we like the idea of stilly done more than
the songs. Sometimes, what was it? What was the idea
to you of being two and using a studio as
an instrument. It's like being two and being the orchestrator

(32:25):
of your band, sometimes not even playing in your own band,
but just being the architects and selling. Okay, so this
guy is gonna play this part. This guy is gonna
play this part, and uh and and that was the
same thing with the Buggles that we loved. It's just
like group of one or two guys, two guys in
those like two cases who started to consider the possibilities

(32:51):
of the studio more than a place where you record
what you have to record. But we need to use
it as a tool to make something more than more
than this and u and even in the worst things
like because for example, like like if you look at
this like documentary about Asia, and when they when they

(33:15):
record like the PEG solo, they use like I don't know,
like thirteen deferense guitarists, and it's it's despicable, you know,
it's it's not it's not a good thing to do.
But at the same time, it's cool that they were like, yeah, nope, nope,
until they find the one that makes exactly the right
thing thereafter. And and there's something a bit like this

(33:37):
in the in in our bend, is that is that
sometimes we we have an intuition of what we want,
we don't know exactly how to get there, and it's
gonna take us like dozens or hundreds of versions sometimes
until we pinpoint exactly what we want. And uh so

(33:58):
maybe that's why we recognize ourselves in this type of process.

Speaker 1 (34:03):
Yeah, did you guys? I was?

Speaker 2 (34:07):
I was.

Speaker 1 (34:08):
I love the Flints. Yeah, yeah, cool, love the Flints.
I've been meaning to try to have them out here
for a few years now, a couple of years. Did
you guys work with them similarly or no, like like
almost like you guys were directing them still then stuff.

Speaker 2 (34:25):
Yeah, we went to London in the studio to record
the vocals and yeah, I mean the yeah, really great
pair of twins that we we just discover on them
like randomly and we love.

Speaker 1 (34:39):
To Yeah, how did you guys find them?

Speaker 2 (34:41):
And actually it's like similarly to still Done. They were
like the I think the Foce people to try on
that song, like to put vocals on on that track?
No way, yeah, and uh and uh. But as soon
as we started working on them, we felt that it

(35:01):
would be the right the right one.

Speaker 1 (35:04):
Who else did you guys work with on?

Speaker 2 (35:06):
But it wouldn't be a nice to say, especially since
in that case, like some of the people we worked with,
we felt it was not working because it was not
the right song for them. And there are still people
that we want to try things with. So it was
not out of like like lack of skills or and

(35:31):
competitivility or whatever. It was just not the right tune.
And and it happens sometimes.

Speaker 1 (35:35):
It wasn't a rejection of the artist at all.

Speaker 2 (35:38):
Never never, and and and we reject so much of
what we're doing ourselves that that if it happens one
time with someone, we don't mistake it for like incompetence
or whatever. It's just not the right thing, you.

Speaker 1 (35:52):
Know that that that stretch of the album of the
new album hyper hyper Drama from uh from like Dear
Allen to Explore is like, that's one of my favorite
was really the way it just moved. Uh the is

(36:12):
it Midnight Rendezvous? Yeah, that Moonlight round view? Excuse me,
Moonlight Rendezvous.

Speaker 2 (36:18):
Uh yeah, we we hesitated between Midnight and Moonlight, so
we didn't you really, yeah, we didn't do it because
there was a Japanese track well band that was called
the Midnight Rendezvous, and we didn't want to use the
exact same same world.

Speaker 1 (36:34):
Oh man, okay, well that's that's that's what my brain
went the same place. What were the that was such
a cool that's such a unique track. How did that
come together?

Speaker 2 (36:46):
Like like Moonnight, Hondezvous and Explorer they belong to the
same basically for us. It's one track that's cut into
to make it more digestible. And also that if you
want to listen to Explore only, you don't have to
listen to moon Night before and uh does this guy

(37:07):
called is a saxophone player in friends, like a studio
session player, but he also makes.

Speaker 1 (37:14):
It on.

Speaker 2 (37:16):
Records. And we also like had the PPG at the time.
PPG Wave PEPG is one of the first digital synthesizer.
It's a twelve bit scence and because it has a
twelve bit twelve bit cheap, there's like always this kind

(37:37):
of like bit crosser, like very soft bit crosser on
it that sounds very futuristic, and it's all throughout the record.
And we wanted to make this kind of like like
saxophone piano track, a bit like blade runner or type
of thing, you know, but with the modern sound of

(38:01):
the pipg ins of a piano. And also like this
the way we made the saxophone sound, so it has
like a Yale bunch of of futurism in a classic
form of writing and and uh and just a musical
form you know.

Speaker 1 (38:19):
And did you with the with the saxophone part is beautiful?
Did you how did you guys achieve it? Did you?
Did it take some time or did it? Was that
like a first take? Now?

Speaker 2 (38:29):
We worked also with another friend called Victor Leman, who
was the the musical Olympics director in Paris, and uh,
and so yeah, we were just like bdancing back, like
you know, singing stuff to each other. And and obviously

(38:49):
they are we can't play the saxophone, so but we
we were just like directed this guy a solo man.
And and he's a really funny character because he's he's
a huge guy. You know, he looks like an American
football player, you know, like massive shoulders and a very

(39:12):
like I mean, he looks very like masculine in a
WiFi in the sense that his old school, old school masculine.
And he's like a great Superson City jazz musicians. So

(39:34):
I really really love like the deco to me of
this guy. And we spent like an afternoon, like a
whole day with him in the studio, and so we yeah,
we would direct him and and for example, we would
tell him things like, okay, so now you go into
like the cocaine jazz part. So he was playing and
like now you put like more cocaine and you're playing,

(39:56):
you know. But because there's like different forms of jazz.
There's like and one of them is the cocaine jazz,
and then there's the heroine jazz. But we we didn't
want to go in that hero into that territory, but
we would say things like this because we knew that
because and that's the good thing with working with like
friends is that like they know exactly what we're talking

(40:18):
about when we were saying that, because we have kind
of the same references and and things. So there was
no cocaine at the studio, but he knows what cocaine
jazz is, so it would do like the type of
parts and then we say, you know, so now it's
more like it would describe him like it's stupid, tough,

(40:39):
you know, like okay, so now it's too much like
you're working like a letther can girls. So we don't
do that, you know, like like those those guys who
know exactly what we but what we talk about like
this all this, so we know that's a wait for
us to achieve like precise results.

Speaker 1 (40:56):
Yeah, yeah, those kinds of references that you can both.
So cocaine jazz would be more like like mid seventies
and the like eighties jazz like that or if or.

Speaker 2 (41:07):
It's it's it's it's a choice of notes but also interpretation,
and it's in that song. It's more when it's like
it he stops like following like the main theme and
goes a bit more improvictional and and it's and it
starts like cranking a bit, like just putting more more

(41:28):
air into the saxophone and playing more disparate a bit
like looking for blue notes and everything rather than sticking
to the softer parts at the beginning.

Speaker 1 (41:38):
And got the gout it right because you did say
it was for that specific part you asked for that,
because yeah, cause it sounds like like, you know, he's
kind of in the in the in the cut for
most of the songs. But okay, so it was for
that particular part and he wanted him the.

Speaker 2 (41:49):
But he does well like long leader cuts, yeah, black
leather cuts. So yeah, he's in those zone for sure.

Speaker 1 (41:58):
You guys gotta bring him on the tour. It would
be great, so hell of a site, but it's too
busy a man, how like you know, those are eight
years between albums, do you guys continue? And your solo
album was released between there, Yeah, which was I really
liked that one too, by the way, and the cover

(42:18):
too with the tuning for tuning for one was like
it's like one of those crazy covers you find in
like a record store or something.

Speaker 2 (42:26):
Yeah, but it's yeah, it's I mean, yeah, it's mostly
our main reference for record covers. It's hypnosis, you know,
like the old label. Yeah, if I do the all
the graphic design studio from the seventies that did the
old at least the best covers for us. And so yeah,

(42:49):
that's so great, that's a great documentary on the Yeah,
they did like the late Ziplin covers, Pink Flood and yeah,
best studio, Like they made something that would never exist again. Unfortunately.
It's it's like there are some artists that make things
and uh and they kill the possibility of doing something

(43:13):
better afterwards and ignow this is one of the studio.
There's like an automovet Hal for example, he made like
a Japanese animation in a way that's not going to
exist anymore. I think miyas a key when it will stop.
If we'll bring this with him too, you know that
people who will reach a level that makes it impossible

(43:34):
to come afterward. Her Blue Berlin with the typography is
the same, like since the since he stopped like doing things,
there was nobody that managed like to reach his level.

Speaker 1 (43:45):
So it happened sometimes, and you think it's because someone
got such a level of greatness that it's hard to Yeah.

Speaker 2 (43:52):
It's just makes it impossible. They kill it with when
they stopped, they killed the discipline, and then you have
to do something. But it's it's fine. You know.

Speaker 1 (43:59):
That's not what I think about a lot, and I
don't like to I guess it could it feels like
maybe I don't know, I guess the pression at the pression,
But sometimes I start to feel like maybe there must
be a saturation point and maybe we were reaching it
where like I mean sometimes, I mean I often feel

(44:20):
that way with film, Like I look at films now,
I look at an old like I look like a
what I would have thought was a really terrible like
movie from thirty or forty years ago, and I'm watching
I'm like, wow, look at those shots like I wouldn't
like I don't even see that, and like the best
movie now.

Speaker 2 (44:35):
You know.

Speaker 1 (44:35):
Then I start to feel like, well, maybe movies are
just maybe they're done, you know, I don't, you.

Speaker 2 (44:39):
Know, but the thing is that we're optimistic and and
they they kill like the the discipline with them, but
then the new things coming in and things are just
being made differently. But but for example, there was like
a like a gibli after Automo. It's just different and

(45:00):
it's great and it's another form of animation and they
made something amazing but different and uh and with topography.
Then there was like a lot of other things happening after.
So it doesn't mean that things will not be good again,
they will be different. And also it's a bit there's
a buyers because those are personal heroes. But I guess

(45:24):
like people are twenty twenty years younger than we are
have different heroes, and so it's very subjective, it is
in a way. But at the same time there's like
a level of technicity that's objective and that can't be
like the technicity of a hubble ballin for example, it's

(45:48):
unmatched and I don't think it's possible to make it.
And obviously we will don't exist without the computer, either
in a graphic design or music. But I think that yes,
definitely something has been lost, like just that link between
the hand and the brain. And so this is why

(46:09):
like the the cars look terrible, the buildings look terrible
for most of them, you know, and just because it's
it's that natural connection has been a bit lost with computer.
This and also the fact that when you look at
a Hubluebling logo, even if you have like four times

(46:30):
like the letter A like the four times, they're gonna
be just slightly different just to make the right interconnection.
And so like an optical balance that's good as today
with the computer, you're gonna in most cases type your
world or even if you do it, and when you
are satisfied with an A, you're gonna take it and
then duplicate it. And that's why you you that's also

(46:53):
why you can't reach the same level of a precision
and everything when you stop working by hand.

Speaker 1 (47:00):
To do you think about that we're making music the
way you make music. Do you think about how to
your example to your point, Like if you make something
it's just very easy to copy paste, like oh this
this is it just sort of lupid or copy pay
or whatever. But do you think about sometimes like there's
a slight variation to this that could happen in the

(47:23):
song that would make this song even stronger if it
was this part but just slightly a little faster, a
little solwer behind the beat, ahead of the beat, or
just off a bit or you know, the imperfection that
can sometimes if you want to call it that.

Speaker 2 (47:35):
Of course we do, but that's also why we don't try.
I mean, if we like in a world where we
like skills or whatever, wouldn't be all technicity wouldn't be
a problem. We would probably be a band like she
calls stilly Dan. But because because of all these reasons, specifically,

(47:55):
we were not trying to make she called stidy dance music,
but taking advantage of what the computer canfil to make
something different that doesn't try to be that, but to
be something that's taking yet that's taking the best in
our is that computers can do, which is repetitivity like precision,

(48:19):
power and stuff like this. And then within a song,
of course we can't help. But like even on songs
that are loop based, at the end, there's not two
loops that are the same. It's like constantly like shifting
and progressing. So the aline is one loop from the
beginning till the end. There's a b section in the middle,

(48:42):
but those loops that will there's not two loops that
are exactly the same as always like something changing. But
that's because we are like a borderline. We have like
a severe lack of deficit of attention. So we need
things to be changing all the time. And not that
we compare ourselves to Hike or Stilly Down. Of course,

(49:05):
we would never try to do something like them, you know,
because we know it's like it's pointless.

Speaker 1 (49:12):
One last break and moving back with justice. Do you
guys ever Nile Rogers.

Speaker 2 (49:22):
Yeah, we did actually in Los Angeles you go something
like this great bands.

Speaker 1 (49:27):
What was the occasion.

Speaker 2 (49:29):
It was, like I think it was some Yeah it was.
It was a zay No party. Yeah, and he was there. Yeah,
it was great like for us, like him and Bernard was.
I think Bernard Wants is a bit like easily forgotten.

Speaker 1 (49:49):
Oh so easily forgotten to us.

Speaker 2 (49:51):
She is really the blend of Nirojos and Bernard and
even like from Sons at the drums. But but like
I remember when when we were listening to Sikh when
we were like when we met and uh and even
before that all the stuff that they did. What we
loved about their music is that it's very difficult to

(50:14):
comprehend what they are doing, you know, like even when
you listen to like I don't know, like for me,
one of the best examples is the freak or upside
down because like they're so intertwined and they're playing that.
When when I, for example, when I finally finally learned

(50:36):
how to play like the freak on the guitar, I
was so disappointed because the guitar part is very deceitful
on its own, because it doesn't sound at all like
what you're listening when you listen to the record and
and to us that the magic of this band is
the perfect intertwining of at least.

Speaker 1 (51:01):
There are also to your points, like the guitar on
its own just solowed is just yeah, it's that's that magical.

Speaker 2 (51:08):
Yeah, earl, But but that's the genius. They know not
to overdo it. They just do exactly what they have
to do so that it works as a whole, like
like the in that regard, uh the Strokes how great band?
Also uh like like between like the two guitars, the
bass and the drums, Like if you listen closely, they

(51:32):
do like something different all the time. They do things
that don't really make sense on their own, but everything
is so well in Tatwine that it makes for an
amazing result.

Speaker 1 (51:43):
Yeah did you was was was now? Was now familiar?
With your guys' stuff. At least he pretended party is
and he seems like he's up on stuff. I think
he that he is.

Speaker 2 (51:53):
Yeah, we we we don't know for sure, but he
was like very nice.

Speaker 1 (51:57):
That's pretty, that's pretty, that's man, that's pretty cool of
zaying love got a love part of me. Now, Rogers,
would you would you? I mean thinking and Nile thinking
of like you know, like them doing records for you
know whatever, Madonna and Diana Ross and then you guys
just did wake me up we referenced earlier for the weekend.

(52:19):
Is that something you guys would do more of, like
making stuff for other artists or with other artists.

Speaker 2 (52:27):
Not necessarily we we we're not running after this. We
would we would do it if we if the initial
ideas sounds good to us, and if we think there's
something interesting to do. But producing pop music for the

(52:48):
sake of producing pop music doesn't interest us.

Speaker 1 (52:52):
How did that we can collaboration come together?

Speaker 2 (52:56):
You get in touch, like I can't remember if it
was late twenty twenty one or twenty twenty two, something
like this while we were still working on our album,
and you told us that, yeah, he wanted to make
like an orchestral piece that would be like an opening,

(53:16):
that would sound good as an opening and uh. And
then we started talking like about what he wanted to
do and and we thought it was the fact that
he called us to make this made sense to us.
So we're like, okay, let's let's do it and uh
and yeah, and then we we worked on enough on

(53:37):
it for one year something.

Speaker 1 (53:40):
Wow, how did how did the thriller of it come
into play?

Speaker 2 (53:47):
So we first like made the orchestral part to the
beginning of the song as it is now almost and uh,
play to him and and we made like ten seconds
of music as a drop to show him that it
could go somewhere and it could be more than just
like an intro, you know. And I was like, oh yeah,

(54:10):
I like this, Like give me more of that. And
so we we because we're working on our album, we
made something very quickly and uh that sounded a lot
like thriller. And we told him, Okay, there you go
as a demo, but beware it sounds a lot like
thriller able and he was like, yeah, and I like

(54:30):
that it sounds like thriller. And I mean it makes
sense because like there's a there's a natural filation between
Michael Jackson and him. Yeah, and uh on on different levels.
And we think he liked the idea of overtly is

(54:53):
it the right world or openly having like a Micael
Jackson reference in one of his songs. And and also
that yeah, and also because we made like different versions
with without and the all sounded good. Uh but at

(55:14):
the end that was the one he was feeling the
most at ease with, and uh, fair enough. It just works.

Speaker 1 (55:21):
It's cool though too that like it's it's like, you know,
because we're talking about I mean, it's the breakdown of thrillers.
So it's like even though it's like the most you know,
maybe the most iconic Michael is the most iconic Michael
Jackson song, it's like a part of the song that
you wouldn't necessarily grab, like thing to use if you're
gonna you know, use some of it, you know.

Speaker 2 (55:42):
Yeah, yeah, and and and actually it's it's only like
the base placement. It's just it's just to do, like
to do That's just it because the notes everything else
is different, but.

Speaker 1 (55:56):
The notes of the base are different.

Speaker 2 (55:58):
Now everything even the notes of the apidu, like the cords.
Nothing is the same. It's just like the placement.

Speaker 1 (56:03):
Wow.

Speaker 2 (56:04):
But but in all fairness and also knowing that we
we all you what it was, it makes sense also
not to do it the subway and to include the
Rod Templeton in the thing. You know. Yeah, it's a
it's an idea, and the idea was was very clear.
But on the musical point of view, it's not. It's
not the same notes. But of course everybody thinks of freedom,

(56:28):
so it makes sense to include him.

Speaker 1 (56:30):
Yeah. Yeah, we were talking about album covers earlier. Fourth album,
hyper Inflation, hyper hyper Drama.

Speaker 2 (56:39):
What did you create the fourth hyper Inflation?

Speaker 1 (56:41):
Don't even don't even ask me. Hyper Drama is the
fourth album? Okay, and it occurred. It didn't really occurred
to me before, but occurred to me looking at him now.
There's been a fortune that you guys never put your
name on on the album.

Speaker 2 (56:59):
Yes, yeah, but but that's the we're talking about hypnosis earlier.
That's the led Zippeline Lawson we learned. Is that is
that on King Floyd too? Yeah, but on Pick Floyd
it's written on the cover, but not every time, but
from let Zeppelin four onwards, so on have seas of

(57:19):
the Holy Two presence. There's not the name of the
band on the covers anymore, no track list, no album name, nothing,
and uh and yeah, we've always liked this idea of
putting minimal information. You just put one image and and

(57:39):
there's a on audio videos, video disco too, there's no
there's no track list, nothing, you just have an image
and even on the back there's nothing. Yeah, it's it's
a blend between the Chicago strategy, you know, the band like,
oh yeah, they always have this logo, but it's a
bit different because it says Chicago. But since we have

(58:03):
that cross logo, we just like this idea of like
ripeating it over over with a different look.

Speaker 1 (58:11):
How did you guys come up with a cross lego?

Speaker 2 (58:14):
We yeah, but so hypnow this again, like like we
were finishing our first album and we're like trying to
look for an ID and we didn't know what to do.
And one time in Toronto, after playing a show, we
ended up at the promoter's place. They were like a

(58:36):
bunch of young people and were having a drink and
they had the Dark Side of the Moon on the
mental piece and we looked at the at the cover
and were like, yeah, this is such a great cover.
If only we had the symbols frong enough that we
could put on a cover and that would be it
and we wouldn't need nothing else. And mind you were

(58:57):
touring and everything, so we already had the cross with us,
but for some reason we didn't think of it. And
then three weeks later we had this kind of epiphany
and I were like, of course we have this symbol
because we have the cross, so we can just put
the cross on the on the album and that would
be it. And so we I called up a not

(59:21):
friend of mine that's making music now under the name
of a break Boat, but at the time I knew
him because I was in graphic design school with him
and we knew that he then I went into like
two D graphic design and he went into three D
and an animation, so he had the tools to make
a model of a three D render like a cross,

(59:43):
and we we told him like, we made the draft
of the cross like this because we knew that if
it was from told, he wouldn't look good. So we
wanted it to have a perspective and to be a
bit like the like like the ship that enters in
Star Wars, you know, yeah, And so we made like
a like a hand hand drone draft of the of

(01:00:06):
the cover. We told him, can you do it? Can
you make us a three D models? So then that
so me can like enjoy it by hand, and it
started working on it, and the first result they didn't
look cool because actually, like the perspective of the cross
that we use, it doesn't exist in the real world.

(01:00:26):
It's it's an anamorphic design. We had like to transform
it to a lot so that it looks cool in perspective.
If you take our cross as it is on our albums,
you render it in three D and then you you
walk around it, it's almost like the same size on
both sides of the horizontal bars. I don't know if

(01:00:49):
I'm making sense.

Speaker 1 (01:00:50):
The both bars are the same length, like the like.

Speaker 2 (01:00:54):
The the the bottom bar and the top bar, they
are the same length. So if you take perspect if
you look at it like like if you take the
three D model and then you you flip it and
you put it from all it's it's going to be
like a US where the horizontal bar is in the
middle almost of the vertical bound. Interesting, So we had

(01:01:15):
like to cheat and to adapt like the three D
until it looks like what it does. That's why we
can never do it in in in real life. Sometimes
we would think maybe for this event or maybe sometimes festivals,
there can we make the crossing three D? And so
I'm like, no, you can't, because this shape doesn't exist

(01:01:36):
in the real world, or if it does, it looks corny.
It doesn't look at all. It's an anamorphos. Anamorphosis we
say in English, Wow, it's not it's not. It doesn't
look like this in in real That's.

Speaker 1 (01:01:49):
Kind of makes it even cooler that it's not replicable
in real life and a way it is, but it
looks like shit, you know whatever, it's not replicable in
the way that you intended it to look, right.

Speaker 2 (01:02:00):
Yeah, Like like for example, like all the covers of
Audio Audio Video Disco or second album, they were like models,
miniatures that were photographed, and the miniatures they looked so
weird because because just one point of view that works. Yeah,
and if them in really they have such a weird shape,

(01:02:20):
that's so funny.

Speaker 1 (01:02:21):
But between albums, what do you guys, you guys sending
ideas back and forth, are you guys thinking about what
could another album be or just for the life.

Speaker 2 (01:02:34):
Yeah, we're living the life, and we don't we don't
walk until we walk until we decide to work. But
because one neighbors and and and uh, and we don't
stop seeing each other when we don't work. We yeah,

(01:02:57):
there's always some thing, some kind of exchange, like listen
to this or look at this cover and watch this film.
So there's already this ongoing conversation and we say, little
what could be our next our next record? And when
we feel that we're already we were just like meeting

(01:03:18):
the studio every day and start walking here.

Speaker 1 (01:03:21):
And how do you so in does just one just
proposed the other, like let's say, let's meetings, like let's
go to the studio next week, or I mean, do
you both have to feel like you have the.

Speaker 2 (01:03:33):
Natural we know it, Yeah, we feel when it's when
it's ready and and and then we we naturally start
to meet at the studio and we we we yeah,
we both know, and let's start next week.

Speaker 1 (01:03:48):
When you started justice album, when you're in the beginning
stages of it, how do are things pretty in place
already or or does it you have to search for
you have to search for something in the studio, you
have to find what you're hearing in your head. Yeah.

Speaker 2 (01:04:10):
No, Now there's a lot of research, like like like
on this album, we spent like months doing research and
development before we finally started like writing the first tunes
the R and D Yeah for real. Uh. We did

(01:04:30):
R and D both in the analog world and in
the digital world, but more in the digital because we
are more interested in that. And uh. And the thing
is that when you do this research, you can't help
but like starting like shaping some like ideas that can
become songs later and some of them that we that

(01:04:51):
we used and uh. And once the shape, once the
ideas were like translating in something that felt good for us,
then we started to write songs.

Speaker 1 (01:05:03):
Wow, And so what are the what is the R
and D?

Speaker 2 (01:05:07):
How is that?

Speaker 1 (01:05:08):
What is that?

Speaker 2 (01:05:09):
Border? Is R and D for justice, but it's it's
as sexy as R and D is any other department,
which is not at all. We just spend days like
nerding out on on things and twigging them until we
find ways of making things sound in a way that
we like. And we already had the idea of making

(01:05:32):
something that was more loop based, but at the same
time we're thinking, okay, like like we like the idea
of flu based music, but we can't listen to loup
based music because it's boring so to us, So how
can we make it so that's like, that's exciting and
that's constantly evolving. And so this is when we came

(01:05:54):
up with like this thing of like maybe we can
do one loop and then we take the exact same
loop and we make it with all different instruments. And
for example, INCOGNITOI is like this, and there's like a
lot of or something one night or Night is like that.
The disco part in the middle is exactly the same

(01:06:14):
as the rave part, but one is made only with
synthesizers and the other one is made only with like drums,
bass and guitar and it. And it was like, okay,
like so this album could sound like if we had
the switch on our board of time travel switch Yeah,
and you're like techno disco and so it's exactly the

(01:06:35):
same music but being like made made in very different ways.
And so we're like, okay, that's one simple way. Technically
it's not simple because you have to re record everything. Yeah,
but it's a simple way of making something Bok based exciting,
exciting because it's the same loop, but everything is different
about it.

Speaker 1 (01:06:55):
You have to try to case find a way that
maybe maybe or maybe not tastefully like hit the switch,
you know, how how do you go from raved to
disco and make it actually work, you know on a
record especially.

Speaker 2 (01:07:09):
Yeah, But and for this we were like really treating
them as defunt songs. So the disco Paths, we would
make a session for it and recorded, produce it, mix it.
Then we would do the same with electronic parts, and
then only at the end, during the editing phase, we
would put them together once they were like mixed and everything.

(01:07:30):
At some point where we almost thought for the disco Paths,
we're gonna mix them, master them, print them on the vinyl,
then record them, then reintegrate them, and are like, fuck,
it's too complicated. And also because we didn't want them
to sound to retro. We wanted them to be a
disco but disco of today, yeah, and not to sound

(01:07:53):
like seventies disco. We wanted everything to sound modern.

Speaker 1 (01:07:58):
Going back to so you guys two, when you guys
major album or didn't you guys turned down a tour
with that plan, didn't you.

Speaker 2 (01:08:08):
On the first album? Yeah?

Speaker 1 (01:08:10):
Yes, yeah, what was? What was? Why was?

Speaker 2 (01:08:14):
But but because we we uh we used to be
compelled a lot to them, and and we thought it
was better, a better move to do smaller things but
our own thing, rather than opening for for them. And

(01:08:34):
uh and yeah, we think it was the right move
to to do. We we love them and that's not
the problem at all. You know, we're very happy that
they would propose us, but it was a better move
for us to just go sideways.

Speaker 1 (01:08:48):
Did they ever here and in your early stuff? And
did you ever get any feedback from like, oh, yeah,
we like it? Did you did you even know were
you around them at that point like to even know that?

Speaker 2 (01:08:59):
Or yeah, yeah like like like like Toma, I think
it did like some sort of pre mastering on two
of the very early remixes that we did, but I
can't remember for which tracks.

Speaker 1 (01:09:16):
It was.

Speaker 2 (01:09:18):
Yeah, like very helpful and welcoming, very yeah, very like
both of them are very very cool guys.

Speaker 1 (01:09:28):
Yeah, that's awesome. The fire that was how did that happen?

Speaker 2 (01:09:37):
We Yeah, we wanted to make a video and the
basic pitch was, was we lack the visual of of
a mirror car being washed and h and we're like, okay,
how about if we instead of making like girls washing

(01:09:59):
a car, it could be us washing a car for
a girl or woman like to drive it then, because
none of us has a driving license, And we started thinking, okay,
who would be the best woman to drive this car?
And were like Susan Sundon of course, because we like
for many reasons, like she she was our first choice

(01:10:23):
and and uh and we got in touch and weird enough,
she said okay, let's let's do it.

Speaker 1 (01:10:31):
It wasn't a hard pitch, It wasn't hard to get ian.

Speaker 2 (01:10:35):
We got very lucky. But but I think like her
son was aware of our music, so he said like, yeah, mom,
you should do this. It's cool. Yeah. So he helped
a lot. Yea. He told her they're cool, do it
because we were one of the first show he ever

(01:10:56):
went to. So yeah, thank you Jack, because that's his name.

Speaker 1 (01:11:01):
You were one of the first shows we ever went to. Yeah,
oh wow.

Speaker 2 (01:11:03):
Cool And and she was yeah, she's she was so
cool and she's like so good. Ruse, she was perfect.

Speaker 1 (01:11:12):
Does that? I love cars? I'm not really I know
too much about him does that car exist? Is that
a real call?

Speaker 2 (01:11:17):
I think car that we we pimped. Yeah, we pimped
and and at some point we we gave it to
Mac DeMarco, but I guess he the paperwork didn't get done,
so yeah, yeah we made him like in French, it's
called the poisonous present, so we gave him the carter.

(01:11:41):
But but it's yeah, I think it's such a terrible
present because it's not allowed. It's illegal to drive it
because it's mild so you can't see it. It's like
actually dangerous to drive a car like it's an old car.
The PaperWorks so sorry, I sawry mac.

Speaker 1 (01:11:57):
So just said and grass.

Speaker 2 (01:12:00):
Or maybe you don't kid some well have no idea
what what you don't need it?

Speaker 1 (01:12:03):
That's amazing cool. Well, thanks so much for making the
time to do this. Thanks thanks for having its great
have fun, less your time. In la you an episode description,
you'll find a link to some of our favorite Justice tracks,
as well as songs and artists referenced in today's episode
and again. To see the video version of this episode,

(01:12:25):
visit YouTube dot com slash Broken Record Podcast, and be
sure to follow us on Instagram at the Broken Record pod.
You can follow us on Twitter at broken Record. Broken
Record is produced and edited by Leah Rose, with marketing
help from Eric Sandler and Jordan McMillan. Our engineer is
Ben Holliday. Broken Record is a production of Pushkin Industries.

(01:12:46):
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(01:13:06):
Our theme music's by Kenny Beats. I'm just Enrichment.