You don't change the winning formula – at most you enrich it with a few more colors, five or six guests, a couple of forays into unexplored territories, a few more layers of pomp and grandeur, unexpected progressions, more or less blatant references to their models of yesterday and today… In short, yes: Justice's new album is an overabundant circus set up for the use and consumption of its historical fans, destined not to attract a single listener more than the lovers of “Cross” and the much fewer followers of the overflowing “Audio, Video, Disco”. In all likelihood, indeed, “Hyperdrama” will manage to alienate some other disciples, hoping that the prog binge of the second album was just a passing trip, which returned with the more dancing “Woman”. “No no – the Gaspard Augé-Xavier de Rosnay duo seems to want to point out, we were serious, and now enjoy – in pure Justice style – another load of sparkling seventies nostalgia”. To which must be added, to shuffle the cards a little, some necessary surprises.
Does a string of collaborations bring with it an attempt to renew the sound or, in some way, pay homage to one's history? It is Kevin Parker, the leader behind the Australians Tame Impala, who emerges from the start. “Neverender” starts with impetus, transporting us into the dreamy atmospheres of a journey of no return towards thehipsterland, a prelude to the ambitions of “Hyperdrama”. “Generator” skillfully takes us back to the classic style of the French combo, through vitriolic synthetic tones resulting from the forays into acid techno by Joey Beltram and the Belgians T99 (famous for their “Anasthasia”); The sound it's powerful and menacing, but it's tempered by the sampling of a string section that adds a cinematic feel – almost action – to the sonic maximalism of the French duo.
Kevin Parker's voice resurfaces in “One Night/All Night”, but it is with “Dear Alan” that the remix/remake reaches its climax: the piece opens with a jingles repetitive that recalls the background of a weather broadcast, while the amalgam of references to the French Touch constitutes a clear homage to the dear friend and legendary producer Alan Braxe, known for his revolutionary collection “Upper Cuts” (in collaboration with bassist Fred Falke ) and for the “Stardust” project, two names certainly dear to fans of world dance music.
“Incognito” is, however, shaped by an electronic bass and a riff of sharp synth. The digital sound evolves from an initially fluorescent symphony, to then immerse itself in the electronic overload typical of synthwave, of which Justice are undoubtedly among the progenitors. The group's skill lies in balancing the baroque arrangements – some would speak of progtronics – with the saturated palettes of electronics plus pump In circulation. In addition to the eloquent Wurlitzer of the single released in March, the contact with the more luxuriant side of Seventies is evident in the chameleonic harmonies of “Mannequin Love”: between sugary vocal stratifications and one of the various non-trivial progressions of the album and career (in this case a “Picardy pendulum” VI-V-IV-II), the reference almost seems to go to the late mutations of sunshine pop that approaches the Aor, somewhere between Boston and the melodic side of Blue Öyster Cult. If “Moonlight Rendez-Vous” would have been easily credible as an episode suffused with “Rain Dances” by Camel (perhaps one with an influence on Eno), “The End” thinks well of closing with yet another featuring high-end, this time with the standard-bearer of the hyperfusion bass Thundercat, evoked here only for a vocal contribution.
A great jumble, one might believe. And instead the thirteen tracks of the album are perhaps the most representative summary of the Justice spirit, a journey in which the multiple souls that fueled the band's history intertwine through greater attention to writing than in most of the previous episodes. They are missing, this is true, bangers truly irresistible: not a small gap, given that the success of the project has so far been based on the effectiveness of its workhorses. But those who have learned, year after year, to appreciate the nuances in the French's style – overcoming the initial stereotype of Daft Punk's “valid substitutes”, to instead embrace their adorable grandiloquence – will find his satisfaction in the album. To get down to business with them anthem with the case straight you will certainly be able to witness the wait performance at the Nameless Festival, which will see the couple on stage on Friday 14 June.
05/06/2024
Antonio Santini for SANREMO.FM