Justice

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 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

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, 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.

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.

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.

Responsibilities on us to find it.

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.

Oh man, I had dread lock still, but I think it's just a little different probably.

But somehow I can imagine it's not that's bad. You know.

Did you have a new metal phase?

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.

They kind of created it sadly maybe in a way, although you know, like.

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.

What were they?

Oh band? Then Squad the medal track called magog Listening.

What was your trajectory in terms of what you started listening to and how alone?

First the first album I Boat was a doggie style.

And the Dark Star Yeah, so it's beautiful, yeah, yeah.

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 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.

First.

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

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.

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, 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.

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.

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.

Yeah, yeah, what do you think it is about the Snoop Dog record about dog Star that makes it still good today?

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 the right way to make this song in something modern and sometimes even better than the original tracks that he sampled.

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.

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.

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.

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, but it suits the project perfectly for you.

Listening in the music was it was the art work important because you guys, we're both like graphic designers before.

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, 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.

Yeah, yeah, did you guys draph from a young age.

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

So analytic drum you mean more like like like.

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.

So you draw more the way like an architect or engineer, I.

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. If I draw a spoon, it would look like a spoon, but you will not feel anything looking at it.

That's funny, man, did how how did you two come together?

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 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

Yeah, how did you guys bond over music?

We both had a few like pieces of gear, but it was really radimental. Does it exist that word radimental?

Yeah?

Yeah, okay?

And elementary yeah.

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, 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

That's really graz thought for sure. The must have been a couple more songs before that that just never came out.

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, 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.

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.

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 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

And did you guys play do you guys playing instruments before that?

Yes, we used to play in high school bands. I used to play bass and guitar, and Guess drums and piano.

We're never in the same groups.

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.

Well, you guys probably lacked in rhythm section.

We guys like, yeah, we're not that tight. Yeah, yeah, we were that now, thank god the computer happened. Yeah, computer saved us.

So how did you guys, how exactly did you put together? We are your friends, how did you guys manage that together?

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 was not enough memory of the on the sampler to take more. And we looked that thing and then we

You both each will have something and you'll play against each other or you'll each.

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 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.

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.

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

Up and yeah.

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 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.

It's like, let me play the stuff.

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. 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

She has made it in two thousand and three.

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 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.

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.

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.

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?

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 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,

I know.

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

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.

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 because it's screamed as well. Yeah, and it's not like you know, to to what's the world to sweet and

You know, there are peggiated kind of thing almost like I guess video game music sometimes too.

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.

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?

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 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.

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 really clean to me. Not or am I am I misremembering?

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 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,

Yeah, did you guys? I was?

I was.

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.

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.

To Yeah, how did you guys find them?

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 would be the right the right one.

Who else did you guys work with on?

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 competitivility or whatever. It was just not the right tune. And and it happens sometimes.

It wasn't a rejection of the artist at all.

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.

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 it Midnight Rendezvous? Yeah, that Moonlight round view? Excuse me, Moonlight Rendezvous.

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.

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?

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 called is a saxophone player in friends, like a studio session player, but he also makes.

It on.

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 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

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?

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 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

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.

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 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.

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.

But he does well like long leader cuts, yeah, black leather cuts. So yeah, he's in those zone for sure.

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 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.

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, 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.

So it happened sometimes, and you think it's because someone got such a level of greatness that it's hard to Yeah.

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.

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 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

You know.

Then I start to feel like, well, maybe movies are just maybe they're done, you know, I don't, you.

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 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.

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

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

One last break and moving back with justice. Do you guys ever Nile Rogers.

Yeah, we did actually in Los Angeles you go something like this great bands.

What was the occasion.

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.

Oh so easily forgotten to us.

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

There are also to your points, like the guitar on its own just solowed is just yeah, it's that's that magical.

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 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.

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.

Yeah, we we we don't know for sure, but he was like very nice.

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. Is that something you guys would do more of, like making stuff for other artists or with other artists.

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 sake of producing pop music doesn't interest us.

How did that we can collaboration come together?

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, 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.

Wow, how did how did the thriller of it come into play?

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, 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

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.

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.

The notes of the base are different.

Now everything even the notes of the apidu, like the cords. Nothing is the same. It's just like the placement.

Wow.

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, so it makes sense to include him.

Yeah. Yeah, we were talking about album covers earlier. Fourth album, hyper Inflation, hyper hyper Drama.

What did you create the fourth hyper Inflation?

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.

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 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

How did you guys come up with a cross lego?

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 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.

The both bars are the same length, like the like.

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 like to cheat and to adapt like the three D until it looks like what it does. That's why we

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.

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, that's so funny.

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.

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, 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

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.

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.

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.

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 R and D both in the analog world and in the digital world, but more in the digital because we

Wow, And so what are the what is the R and D?

How is that?

What is that?

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

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.

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.

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.

On the first album? Yeah?

Yes, yeah, what was? What was? Why was?

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 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.

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?

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.

It was.

Yeah, like very helpful and welcoming, very yeah, very like both of them are very very cool guys.

Yeah, that's awesome. The fire that was how did that happen?

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 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?

It wasn't a hard pitch, It wasn't hard to get ian.

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 went to. So yeah, thank you Jack, because that's his name.

You were one of the first shows we ever went to. Yeah, oh wow.

Cool And and she was yeah, she's she was so cool and she's like so good. Ruse, she was perfect.

Does that? I love cars? I'm not really I know too much about him does that car exist? Is that a real call?

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. 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.

So just said and grass.

Or maybe you don't kid some well have no idea what what you don't need it?

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, visit YouTube dot com slash Broken Record Podcast, and be sure to follow us on Instagram at the Broken Record pod.