By: Carlos Sucre-Parra/Columnist
Electronic music is meant to evoke the most basic human emotions through its pounding rhythms, massive loops, constant shifts and bass drops. This is also why both Skrillex and the Jersey Shore have become so popular. French beat makers Justice have a definite knack for this and their debut record, “Cross,” certainly served as a testament to their talent.
Carlos Sucre-Parra / Columnist
“Audio, Video, Disco,” their latest release, attempts to maintain the same momentum and enthralling vibes created by its predecessor. However, somewhere between the fear of recreating their debut and taking a completely radical new direction at the risk of alienating their fans, Gaspard Augé and Xavier de Rosnay found an uncomfortable middle ground where they tried to appease both sides to deliver a lackluster sophomore effort that can’t quite define itself, much less captivate the attention of the listener.
The starting track, “Horsepower,” sets the stage for the new album. The listener is presented with a strikingly similar tune to “Genesis,” utilizing horns to create tension, massive buildups and a certain level of hype for what is to come.
While the next track, “Civilization,” attempts to take a stab as a crossover hit, it misses the mark; it feels bland and dull in comparison to “We Are Your Friends” from an earlier single and “D.A.N.C.E.” from “Cross.” Both became massive hits due to their immense catchiness as purely club-centric electronic pieces aimed for the discotheques, where the spirit of Ed Banger, their record label, thrives.
“Civilization” reminds me of the time I wasted when I saw Lionel Messi in a commercial for Adidas in hopes of catching parts of the song; the hype surrounding the album became a greater opportunity for them to sell the expectations of an unreleased product at a high price. Unfortunately, what follows becomes increasingly disappointing.
The third track, “Ohio,” never quite picks up a definite groove; the bass and main rhythm becomes an afterthought behind a series of piano arpeggios that detract from the overall value of the tune. By the time the beat grows into the track, it is a lost cause. The next two tracks, “Canon (Primo)” and “Canon,” become highlights of the album, one for its brevity and the other for the homage it pays to Daft Punk’s “The Prime Time of Your Life.” The two find a great groove and an infectious balance between electronic and rock that begs for people to take over the dance floor.
But this only becomes a brief flash of brilliance in what otherwise seems as an effort to marry revivalist disco and modern electronica without taking a firm stance on one or the other. “On’N’On” provides what could be considered the best track in this experiment. The funky combination of synths, string arrangements and vocals blend into a pretty catchy jam – ignoring the flute/piccolo break, which adds a somewhat uncomfortable Spyro Gyra/fusion jazz element to the track that lingers in the background, never quite fitting in.
Ultimately, that certain combination of alluring pulsations and somewhat kitschy instrumentation represents Justice the best. It becomes a guilty pleasure – something you vehemently deny listening to, yet fully embrace on the inside, making it such a great thing. This is the embodiment of “Audio, Video, Disco.” You may not embrace the album in the realm of public opinion, but you will “D.A.N.C.E.” to it and love it.
Radiate Reviews is a weekly music review column. Look for it every Wednesday this fall.
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