Justice Album Review

I have always been a big fan of electronic music that tries something a little bit different. Even though most players in the dance music industry are often compared alongside the grandaddies of techno, Daft Punk (and most of the time the comparisons are realistic), hybrids are born amonst different genres and watered down and saturated enough to make a big mark.

Enter Justice, ane electro-punk band from France, constisting of Gaspard Auge and Xavier de Rosnay. After doing a collaboration with the dance-rock band Simian in 2006 and releasing several EPs and singles (Waters of Nazareth, Phantom, D.A.N.C.E.) they recorded the masterpiece called †(Cross).  This album not only gained them mainstream success, but attracted the attention of clubs and dancefloors on an international scale. 

The album opens up with Genesis, a track full of static-y synth riffs, laser-like hooks and infectious beats. It starts up and ends with an epic, almost sinister sounding drum roll and distorted roars. It then switches up to Let There Be Light (noticing anything with the track names yet?) throws out punchy, epileptic drum patterns and an almost alien-like whirl in the background. Then there is the wildly popular D.A.N.C.E. which features a catchy cheer that you will be singing for hours and hours (Do the D-A-N-C-E, 1 2 3 4 5 . . .) and a retro disco-like feeling to it. 

Newjack is full of disorienting synth and bass reels while featuring a distorted and almost completely inaudible sample of "You Make Me Wanna Wiggle" by the Brothers Johnson. The track is then followed by Phantom Pt. 1 & 2, both full of awe-inspiring bass riffs and synth buzzes. With Valentine, things get a tad more mellow as the duo decide to take a breather from all the hyperactive disco-tronic funk and resort to a sort of evil sounding synth organ. It almost sounds like something from Harry Potter!

Afterwards there is The Party, which features the techno gangsta-rap chick Uffie. However, I do not fully believe that Uffie was necessary on this track, as her materialistic lyric-spittin' ruins the records charm a little bit. The same goes for DVNO, even though Uffie is not in it, it still features an unnamed male singer (probably Auge or de Rosnay.). The only thing that I really like about the track is the bass riffs.

Stress sounds like a symphony in space, almost. Though the highly distorted orchestra may get annoying after a while, its dark synths are enough to keep it going. Then there is the metal-esque Waters of Nazareth (again with the names), which busts out beautiful drum patterns that seem almost impossible to perform with an actual drum set. The record ends with One Minute To Midnight (somewhat fitting title) which is ladden with funked-up synths which cover up the ambient noise in the background.

Over all, I would have to say that while †(Cross) has a certain level of repetitivity, it is an album that is fun to listen to and should be listened to over and over again. If over-distorted dance-punk is not your bag, go buy something else. If you're into that sort of thing, by all means jump on in.

Score

8.5