For this presentation, I am going to do an analysis at some of the musical works of at

least 12 minutes. About most of you dont know who the band Im reporting on is, so
put on your headphones and listen away, if you see any songs youre interested in.

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Gaspard Auge (left) and
Xavier de Rosnay (right)

Justice is an electro house and nu disco band located in Paris, France consisting of
Xavier de Rosnay and Gaspard Auge. The two met in 2003 at a graphic design school,
and made a remix of Simians Never Be Alone for a radio contest, only to be lost.
The remix caught the eye of an independent record label, Ed Banger Records, who is
known for publishing songs from known French artists like Mr. Oizo. The remix
became the first known single from the band on Ed Banger Records later in 2003, and
had a music video which would later win the Best Video Award from MTV Europes
Music Awards. Because of their success of their Never Be Alone remix, they went
on to create more remixes from artists, such as N.E.R.D. and Britney Spears.
Additionally, they created two original songs for Musclorvisions compilation album,
Hits Up To You, released in 2003, along with Gaspards original solo track. Justice
released their first single with original content in 2005, Waters of Nazareth, which
would later be one of the tracks on their debut album, Cross, in 2007. Their debut
album also contained the tracks, D.A.N.C.E, which would go on to be a success
among UK and French clubs, and DVNO which had a viral music video consisting of
production logos. Justices success in their debut album led to their first live tour in
2008, which would spawn their first live album A Cross the Universe, along with a
documentary of the same name.

Justices success continued, even for remixes, as they won their first ever Grammy
award for Best Remixed Recording, Non-Classical to their remix of Electric Feel by
MGMT. This is the last important news Justice fans will receive, until sometime in
2011, when their new single Civilization was heard in an Adidas commercial. That
single would later be part of their sophomore album, Audio, Video, Disco, which is
more rock-oriented, unlike their first album, which was electro house-oriented. The
second album wasnt as successful as the first one, but it did spawn a second live
album in 2013, Access All Arenas. Later in 2013, two remixes from Justice were
released of Brianvision from their second album, and Ich R U from Boys Noize.
These releases would hold fans over until in the summer of 2016, their first single in 3
years, Safe and Sound, was finally released in a free MP3 download for a limited
time. Later that year, the fans were held over when Justice released their recent third
album Woman, which charted No. 1 on the Billboard Top Dance/Electronic Albums,
and included Safe and Sound and Fire, which has a music video starring actress
Susan Sarandon.

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 Cross (2007) Audio, Video, Disco. (2011) Woman (2016)

This is the bands studio album discography. The album covers usually consist of a
Christian cross, viewed from a bottom angle.

Here is a list from every known released single from Justice. All of them are known to
be released from Ed Banger Records, Justices signed label. Some of the singles dont
have a Christian cross, like the studio albums.

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 A Cross the Universe (2008) Access All Arenas (2013)

These are Justices live albums. The first one contained a text which says that its a
documentary, but the live audio disc is included along with a documentary DVD.

The first composition Im going to write about for a listening guide is Randy, which
is part of Justices latest album Woman in 2016, and featured vocals by Morgan
Phalen. Phalen previously did vocals for Justices other songs New Lands and
OnnOn, both part of their album Audio, Video, Disco. Randy is first released as
a single on September 14, 2016 to promote the new album, which came out 2
months later. The music sounds like its from an electro-rock genre with baroque pop
elements.

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 Section Time
Section 1 - Intro 0:00 0:19
Section 2 Verse 1 0:19 0:39
Section 3 Chorus 0:39 1:30
Section 4 Verse 2 1:30 1:50
Section 5 Chorus 1:50 2:42
Section 6 2:43 3:02
Section 7 3:02 3:41
Section 8 Bridge 3:42 4:28
Section 9 Verse 3 4:28 4:47
Section 10 Chorus 4:47 5:39
Section 11 5:39 6:38

This is how I divided the song Randy into sections as a listening guide. After hearing
that song many times, which is what I was supposed to do in order to do the timings
right, it is easier to do it that way. This song lasts for 6 minutes and 38 seconds.

Section 1 begins with a short banging drum solo to start the introductory
instrumental, which consists of a slow duple meter of 100 BPM and a deep guitar riff
which has a wide range.
Section 2 is where the vocals began, and the guitar riffs separate into segments
between silent delays to go along with the rhythm.
Section 3 begins the chorus and the melody changes for the guitar riff. The piano with
chords even comes in. There are two parts of the chorus:
The first part is like an introduction to the chorus: this is where the change of melody
begins.
The second part is the most powerful part of the chorus. The drums intensify, in
addition to more drums in the background, and the vocals rise. The melody in that
part is a more majestic-sounding piece than the other part because of its higher
range of notes. Also, it has 4 chords repeating throughout the chorus.
In Section 4, everything goes back to the way it was in Section 2. Its basically the
same as Section 2 with less-intensifying elements like the melody and the dynamics,
but with different verses.

In section 5, nothing is different from the third section. The chorus is contained, more
instruments are added, and the melody becomes intensifying and powerful!
Section 6 continues the chorus' intensifying melody, but the vocals are removed.
Instead, the piano takes the vocals' place by adding more notes to accompany the
four repeating chords, thus making it the instrumental part.
Section 7 takes all of the elements from Section 1, which this section started with,
but later added more notes to the riff and changed the rhythm of the percussion.
Section 8 starts off with a much intensifying violin solo, accompanied by a much more
majestic melody from the guitar riffs. It is a bridge, which means it has melodies to
prepare the listener for another verse.

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Section 9 begins where the bridge ends. This is like Sections 2 and 4 where there are
verses, but there are a couple differences. One is the lack of percussion, and the
other is the addition of the major-chorded piano.
Section 10 is again the chorus same as sections 3 and 5, but the violins are added
on all of the chorus, and at the second part of the chorus, the timing of the vocals
changed once, as the first Randy in the chorus became shorter.
Section 11 is the same as Section 6 the instrumental version of the chorus, but its
extended with more notes, and the violin is played until the end. The section
continues until the song fades out, thus finishing the song.

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This is the extended version of Justices 2007 hit disco track D.A.N.C.E, which lasted
for four minutes on their debut album Cross. That track is the best-selling one out
of any other single released from the album. This version came from a D.A.N.C.E EP
which also contains the radio edit, a remix called B.E.A.T, as well as the other track
Phantom, also heard on their debut album. The song contains lyrics from a few
Michael Jackson songs, which is Gaspard Aug's idea. The vocals are provided by the
Foundation for Young Musicians, a choir from London.

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 Section Time
Section 1 Intro and Chorus 1 0:00 0:16
Section 2 Choruses 1 and partially 2 0:16 0:59
Section 3 Chorus 2 0:59 1:32
Section 4 Chorus 2 and Verse 1:33 2:02
Section 5 Chorus 2 2:03 2:36
Section 6 Bridge 2:37 2:53
Section 7 Choruses 1 and 2 2:54 3:11
Section 8 Chorus 3 (includes partially 2) 3:11 3:28
Section 9 All 3 Choruses 3:28 4:01
Section 10 4:02 4:34

This is how I divided the extended version of D.A.N.C.E into sections as a listening
guide. Though I dont hear the song often, I should be able to get a sense on where
the sections are. This track lasts for 4 minutes and 34 seconds.

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The song starts of with the first section containing what is heard to be an old radio
broadcast of the first chorus and the violins. Most of the chorus can be heard, due to
the constant station changing.
The second section breaks out of the radio tuning effect, and introduces all of the first
chorus accompanied by a synth chorded to A major. The violins are gone. The section
ends with a different composition after having all of the chorus repeated two times to
segue into the next section, in addition to a part of the second chorus.
The third section introduces all of the second chorus, in addition to the duple meter
percussion, a bass track, and a guitar riff that repeats throughout. The composition of
for this section is now in a minor F sharp.
The fourth section is basically the same as the second section, but shorter. Also, the
first chorus is replaced by a second one. The violins are kept, but in a few parts. In
addition, the bass track and a slower percussion were heard. Another synth track has
been added in fragments. There is also a verse at the end of the section that is never
heard on the studio album version.

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Section 5 is basically the same as the third section. The sixth section, however, is a
bridge that will lead to another section. The bridge takes most of the elements of
sections 3 and 5. A piano track and a wind sound effect made of another percussion
instrument were added, but parts of the drum percussion were removed including,
making it almost sound like a basic duple meter rhythm (one, two, one, two). The
seventh section is like sections 3 and 5, but the two choruses combine. Also, there
are less parts of the percussion than the bridge, and parts of the bass track are
removed.

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Section 8 wipes out most of the percussion and most of the second chorus, and adds
a piano track from the bridge. In addition, there are new verses that make up a third
chorus.
Section 9 is basically the same as the third and fifth sections, but all three of the
choruses combine throughout this section. The piano from section 8 isnt heard
anymore. The first half of Section 9 contains a combination of the third and second
choruses, and the second half contains a combination of the first and second
choruses.
The last section begins with an excerpt from the second chorus, which segues into
the background chorded synth from section 2. In addition, synth tracks from the
fourth section are added, and so is another slow percussion track. However, the
vocals are removed.

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The final track Im going to be showcasing is a short interlude track called Valentine,
which appeared in Justices debut studio album. The track has no vocals, unlike the
other two Ive showcased.

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 Section Time
Section 1 Intro 0:00 0:18
Section 2 0:18 0:29
Section 3 0:29 0:47
Section 4 0:47 1:24
Section 5 1:24 1:52
Section 6 1:52 2:19
Section 7 2:19 2:56

This is how I divided the extended version of Valentine into sections as a listening
guide. This track lasts for 2 minutes and 56 seconds.

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The first section is an intro which contains a droning breathing sound in C sharp and a
slow duple-meter percussion. A three-note monophonic synth, one synth being the
longest until the end of this section, is heard at the second half of this section.
The second section is completely different: there is a Wurlitzer-like synth in D sharp
minor, and the percussion and breathing are removed. In addition, a synthesized bass
track has been added that plays monophonic notes that go with the Wurlitzers main
notes. The rhythm in the synth is irregular.
The third section added a faster duple meter rhythm, and the synth is finally fixed to
the percussion.
The fourth section adds a high-pitched multi-note synth track that would be
throughout the song, making the song polyphonic. Also, the glitching sound effects
that go with the rhythm occur near at the end of the section.

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Section 5 is basically the same as section 4, but with a few differences. A lower-
pitched synth with more notes has been heard. The glitching appears again near the
end, but its more intensifying.
Section 6 adds another lower-pitched synth track which sounds like a guitar, and has
slower notes.
The last section has everything softened, including the percussion. It then fades back
into the first half of the intro, with only the slow percussion and the C sharp
breathing, as the song ends. No studio fadeouts or anything but the breathing
because this track continues into the next track on the album.

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Here are the sources I used for this presentation:

Images: https://www.discogs.com/artist/52758-Justice-3
Information:
https://www.discogs.com/artist/52758-Justice-3 (including the discography links)
http://www.allmusic.com/artist/justice-mn0000648106/biography
http://latimesblogs.latimes.com/music_blog/2008/12/grammy-scorecar.html
https://www.amoeba.com/justice/artist/153212/bio
https://www.youtube.com/watch?v=hw3d9KTYHIE (YouTube video upload date)
https://www.attackmagazine.com/features/long-read/justice-tell-the-story-of-d-a-n-
c-e/2/

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