From the first bars of hyperdramaJustice's first new album in eight years, the duo reminds us why we fell in love with their timeless electro in the first place.
Those hungry for Justice's visceral French house music need no longer be discouraged, as the record brims with an embarrassment of synth-drenched riches. But while still anchored in the harsh analog tones that made them iconic, the album finds Xavier de Rosnay and Gaspard Augé exploring uncharted territories with a renewed sense of adventure and emotional depth.
With hyperdrama, Justice transcends the simple pleasures of body music to speak to the tragedies, triumphs, and bittersweet complexities that loom over the euphoric release of the dance floor. Eschewing the distant electronic stoicism that defined her previous work, Justice exudes directness and restless longing without abandoning her roots.
Listeners need look no further than their first track, “Neverender,” a sublime collaboration with Tame Impala where cathartic synth-rock meets aching lyricism drenched in regret over unresolved headaches. And on “Mannequin Love,” Justice leverages his proven analog synth craftsmanship to produce an airborne anthem with effervescent arpeggios fluttering through The Flints’ effervescent vocals.
In other places hyperdrama is the psychedelic “Explorer,” a dark horse for the best track on the album. Here Justice weaves a lysergic web of creepy cinematic textures alongside a crazy Connan Mockasin, whose guttural voices envelop us like a hypnagogic nightmare. A masterclass in building tension, his haunting soliloquy over a barren desert with a sinister figure in the distance sends shivers down your toes.
Despite those departures, it's clear that the legendary Justice hasn't lost the retro-futuristic touch of French house that has long turned dance floors into sweat-stained ruins. They step back in time thanks to “Generator” and “Incognito,” a pair of raw, vintage tracks that pulse with the intense intensity of his seminal debut album. †.
The album's evocative nature is no coincidence, according to Justice's Xavier de Rosnay.
“Classical pieces of music, like Beethoven's 'Fifth Symphony,' are the biggest hits of all time and they have no drums, no rhythm, no lyrics. But they have been the biggest hits for centuries because they have a very powerful evocative force. “said de Rosnay GRAMMY.com. “For us, music is first and foremost meant to reveal this. So we never make music with the idea that it has to be dance or pop or something, we always make music to try to convey powerful emotions.”
hyperdrama is out now via Ed Banger Records/Because Music. You can listen to the album below and find it on streaming platforms. here.
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