When Justice ISSUED Hyperdramatheir first album in eight years, April didn’t expect to dominate the dance scene the way they once did. Gaspard Augé and Xavier de Rosnay began performing together as Justice in 2003 and over the past twenty years have built a cult following following their every beat – but the open reception they received from their contemporaries. the audience surprised him…

Even as one of the most influential electronic acts of recent decades – praised for their convergence of house music and French rock – Hyperdrama served to reintroduce Juitice to longtime fans and a new set of listeners alike, thanks to anthemic tracks like Tame Impala’s “Neverender” and other collaborations with Miguel, Connan Mockasin, and Thundercat.

On November 10, Justice will headline Hypefest Hong Konggiving attendees the opportunity to witness one of the duo’s rare live sets. While de Rosnay, who responded on behalf of the duo, says they rarely perform live, their sets are a throwback to one place. It’s just a lot of trying to execute everything so that you and the crowd are all in sync.”

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How are you feeling ahead of your performance at Hypefest Hong Kong next month?

I’ve performed in Hong Kong a few times, but it’s always been in and out. From what I remember, it’s like a rather futuristic city – sort of Blade Runner. Hong Kong is the future as we imagined it in the 80s.

Historically, you’ve looked to the 80s for musical and visual inspiration. That influence — along with anime, another primary source of inspiration — really came together in the recent picture “Neverender.” How did you come up with this concept?

The one-minute intros from the anime we watched as kids have always been a big part of our musical and visual inspirations. They have always managed to condense so much emotion into such a short span of time. We also liked sitcoms like that Punky Brewster and Silver spoons.

For this reason, we decided to make our own anime with “Neverender”. I worked with the Japanese studio Sekai. Masanobu is a master of Japanese animation techniques, which is much harder to find from an animator in Europe or even the US. At the same time, he’s doing it in a modern way that has these psychedelic vibes that work with our music and Kevin’s (Parker, Tame Impala frontman) voice. It was a way to do that while producing a contemporary music video that isn’t a 100% pastiche of something from the 80s.

Speaking of “Neverender,” you released an entire EP of remixes of the track, including one by Kaytranada. What is your philosophy on remixes at this point in your career?

The remixes were more of (our label) Ed Banger’s thing. Honestly, we feel a bit disconnected from the clubbing scene in general. Remixes aren’t really important to us right now. However, we are still in the club scene and open to new things, so we let Pedro (Winter, founder of Ed Banger) give people the stems. Kaytranada is someone we like, so we’re happy she was on board to do this.

Why do you feel disconnected from the clubbing scene?

I just got old. The club scene has always been like something that belongs to the youth. When I was in my 20s, we used to hang out in clubs and we were very in tune with that kind of energy. Now, when we walk into a club, people will think we’re undercover cops from the drug enforcement agency.

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Eight years have passed since then Woman and Hyperdrama. Was the era of Justice as a group or your individual ages taken into consideration when making the new LP?

Our age, not really. The only thing we were a little bit aware of was who might be listening after an eight-year gap between this project and our last album. Obviously, there was a bit of doubt, but it never interfered with the music I was making. We never try to jump on the last train or follow what’s going on with music, especially in club music.

The reception was the best surprise for us. We’re at a point where the generations of our listeners are crossing over, which we saw at the first few shows we played at Coachella—the front two rows were mostly 20-somethings. For most of them, it was the first time they had seen us perform at a festival. We’ve been here long enough that a new generation of people are discovering our music. And we don’t feel like an “old band”. I think this album, the live show and everything else around it is still very contemporary.