Never before has a massive, moving lighting rig or a set of retina-burning strobes ever been a filmic co-star.ĭe Rosnay alone (we’re told Gaspard says “hi” and “apologies,” as he had an appointment) gave us the skinny on the “woman” behind IRIS, why a crowd is bad for a live music film, and what their cross symbol still means to them after all these years. Filmed without an audience, Augé and de Rosnay, both clad in all-black, stare at themselves without the interaction of a crowd, their sequencers and their analog synthesizers allow the viewer to center on space, or at least their version of it. It is here that Justice’s cinematic escapade, IRIS: A Space Opera, begins. Only a signature cross, the band’s symbol since the beginning, remained as Justice’s visual touchstone. But, by 2011’s Audio, Video, Disco and its accompanying tour, the duo began stripping away their use of video and color itself, to focus instead on scorched earth sound and minimalistic vision.īy Justice’s next big show, 2014’s “Woman Worldwide Tour,” they’d gone even further, using black as their palate and incorporating intricate, moving stage lighting fixtures.

The French electro unit of Gaspard Augé and Xavier de Rosnay may have formed Justice in 2003 to fuse the thunder of heavy metal with the chill of house music.

Justice iris space opera