Progress Report

Progress Report: Gaspard Augé (Justice)

NAME: Gaspard Augé
PROGRESS REPORT: One half of Justice teams up with Mr. Oizo to soundtrack the sweet sweet sounds of a telepathic tire.

Just a few days ago we got a sneak peek of “Civilization,” a new track from the “French bloghouse synth-distorters” (thanks, Amrit!) known as Justice. Even though the band’s new single won’t officially be unleashed until April, superfans can console themselves with RUBBER—a movie about Robert, an inanimate tire that has been abandoned in the desert, and suddenly and inexplicably comes to life. Sounds good, right? Given the bizarre nature of the film (you know, a killer tire that telepathically kills people and chases after sexy women) and given the fact that it was directed by legendary electro musician Quentin Dupieux (aka Mr. Oizo), it makes some kind of crazy sense that Gaspard Auge — one half of Justice — would contribute to the film’s score. Augé and his Justice cohort Xavier de Rosnay are still busy sprinkling electronic pixel dust on their forthcoming album (presumably while orbiting the globe in their own space station recording studio), but Augé did have time to reply to a few questions regarding his involvement with the film, the things that inspire him, and the difference between making music for Justice and creating soundscapes for murderous tires.


STEREOGUM: How did you get involved with this project? And what was it specifically about this film that appealed to you?
GASPARD AUGÉ: I’ve always had a soft spot for beards, so it was very natural to go and work with Quentin.

STEREOGUM: How would you characterize the music you contributed to the film? In your opinion, how does the music enhance the film?
GASPARD AUGÉ: The music is a blend between french score tradition and “stupid” electronics. It’s like François de Roubaix suffering from epilepsy.

STEREOGUM: When approaching making music for the film, how did you begin? And what was your goal for the music?
GASPARD AUGÉ:The movie challenge was to make a tire alive by any means, so we tried to make the most emotional soundtrack possible. We started from scratch with a few melodic ideas, then with the images to see what notes could emphasize the feeling on the screen.

STEREOGUM: Is this your first foray into making music specifically for a film? How was the experience? Would you do it again?
GASPARD AUGÉ: For a first time, I loved it. It was a very liberating experience.

STEREOGUM: How does the experience of providing music for someone else’s creative project differ from the experience of creating music for yourself?
GASPARD AUGÉ: It’s not the same mind torture than creating a Justice record from A to Z. It’s not the same “responsibility,” Oizo has a very instinctive and immediate way of working, which definitely suits his music and his ideas, I really do think he’s the last of the Mohicans in the music / movie business.

STEREOGUM: Does working on projects like this change your perspective on making your own music? If so, in what way?
GASPARD AUGÉ: With Justice, we always did music that could provide strong feelings or images, though we hate the word “cinematic” when it comes to music, because it sounds like ’90s trip-hop. But we’ve always searched a way to make the listener feel either invincible, happy, or sad. For Rubber, i really indulged in my melodic obsessions with no remorse. Most of my musical ideas come from French soundtracks.

STEREOGUM: For those who have not yet seen the film, what can viewers expect from your music in the film?
GASPARD AUGÉ: We only put 30% percent of the music we did together in the movie, so the record is more faithful to our collaboration. It’s a blend between François De Roubaix, Vladimir Cosma, Philip Glass and a chainsaw.

STEREOGUM: What’s next for you? What can you say about the status of things with Justice?
GASPARD AUGÉ: The new single “CIVILIZATION” is out in April, new album next fall.