justice
Hyperdrama
Ed Banger/Because
May 14, 2024
Web Exclusive
Don't be fooled by the title: Hyperdrama it is the most calm and organized Justice that ever existed. From his pristine, detailed artwork of metal instruments and his guts shining on a glass cross, to his specially curated cast of hand-picked guests—all of whom slipped effortlessly into Justice's galactic sound—this record is the work of a duo that they're not just throwing things at the wall and seeing what sticks. Instead, it's very much an album with a high-definition sheen: less sonic distortion than their previous output, sleeker grooves. Justice's fourth studio album is certainly electric and powerful, but it's no riotous mess.
His cinematic brilliance Hyperdrama will likely divide opinion. For those who care about the clean performance of, for example, Daft Punk Random access memories or by Tame Impala The slow rush, there will be a lot to like. For anyone hoping for the sweaty, unabashed style of Justice's early work, it may take a while to settle into his world Hyperdrama. For this listener, the revamped sound is quite satisfying. Sure, some of the tracks struggle a bit with tighter, tighter parameters than Justice usually operates (“Afterimage,” for example, will probably feel too still and bland for fans of Justice's more unrestricted material), but when the duo weaves a polished songcrafting approach with a keen understanding of rhythm and electro house, the record really shines.
“One Night/All Night,” for example, hits all the right marks. It gives the silky vocals of guest Kevin Parker (of the aforementioned Tame Impala) a perfect home in a moody, swinging disco production that knows just when to simmer and just when to explode. “Incognito” is another hit, futuristic and neon, sounding like a bolt of electricity crashing around a metal box and perfectly executing the album's core philosophy of controlled galvanization.
It's no surprise that Justice is capable of making memorable and endearing songs. Their ability to warp and distort beats and bass into something distinct and addictive is why songs like “Genesis” and “We Are Your Friends” are still staples in almost all indie sleaze and electronic music. 2000's playlists you'll find on streaming sites. It's when this knack for interesting track construction is offset by Justice's desire to deliver something neat and tidy that the record falters.
Some of the songs struggle to expand beyond their early beats and end up sounding somewhat pointless, like Justice just showing off their new sound instead of doing anything playful with it. “Dear Alan” somersaults in many different directions, but ends up nowhere particularly constructive. Meanwhile, “Explorer” and “Muscle Memory” are elegant, staccato songs that both build towards nothing in particular, and definitively slow the album's momentum by placing back-to-back on the tracklist.
These missteps mean that once we get to the finale (the thoroughly satisfying “The End,” with a typically haunting vocal from Thundercat), the album as a whole feels unfinished. It's slightly disappointing, as Justice have the kind of rebellious and empowering spirit that makes you yearn for a full-length record from them. There are a lot of good songs on the record and it's exciting to say the least that Justice are still experimenting and bucking expectations, but some of their tracks are performed with a little more gusto, Hyperdrama it could have been a really great album. (www.justice.church)
Author Rating: 6/10
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