_Justice – Audio, Video, Disco (30/11/2011)
_
Second album syndrome, it’s the curse that has been the
downfall of many a promising musician. With their life’s material poured into
the debut album, how does one come up with a sophomore release that not only
matches the first effort, but goes above and beyond it?
When Justice burst onto the dance scene in 2009 with their massive debut Cross, many were hailing them as the new Daft Punk. Now with their second release, Audio, Video, Disco, carrying enormous expectation has the duo managed to come up with something spectacular or has the pressure become too much?
Horsepower opens proceedings and starts out with a pounding beat full of programmed guitars. This signals an immediate change in the sound we are normally used to from Justice. It’s catchy, uplifting and the perfect opener as it gets you in the mood for dancing. It’s definitely got huge 1970’s prog influences like Queen and Slash. But it works as it so overblown and bombastic that you can’t but smile.
Single Civilisation is up next and immediately opens with that catchy-as-hell guitar riff. Then it’s into a breakdown and restarts with British pop singer Ali Love providing vocals, which compliment the music perfectly. The chorus is something you can yourself first-pumping and moshing to over the summer and the keyboard arrangements add a touch of class to the overall sound.
Ohio sees the first dramatic shift on the record with a gathering of voices all singing in a Capella before the sound takes on a more downbeat and chilled mood. To be honest, it definitely not the best track Justice have ever written, but it seems to work in the scope of the record as a welcome change after the ferocity of the opening two tracks.
From there, Audio Video Disco continues to throw up surprises. The very Daft Punk Derezzed esque Cannon brings a new element to the record with its fast paced electronic keyboard sounds. Brianvision introduces a very cool Queen-like guitar solo and Helix has a swanky groove to it that is incredibly infectious. However Parades does seem to lag with no real chorus and a dragging handclap section backed by a repetitive synth.
The title track ends the album and sees a song much more in the style of previous Justice we’ve come to know and love, with less of the glam guitars and more hard synths.
Overall, this is a game changer for Justice and possibly the dance scene this year. They’ve built fantastically on the sound of their debut instead of playing it safe. It might be a bit over-the-top bombastic for some people, but that’s the whole point of it. It hits you square in the face and leaves you wanting more. With Audio Visual Disco, the Justice produced a truly fine record that has pushed the boundaries of modern electronic sounds
Sebastian Betten
When Justice burst onto the dance scene in 2009 with their massive debut Cross, many were hailing them as the new Daft Punk. Now with their second release, Audio, Video, Disco, carrying enormous expectation has the duo managed to come up with something spectacular or has the pressure become too much?
Horsepower opens proceedings and starts out with a pounding beat full of programmed guitars. This signals an immediate change in the sound we are normally used to from Justice. It’s catchy, uplifting and the perfect opener as it gets you in the mood for dancing. It’s definitely got huge 1970’s prog influences like Queen and Slash. But it works as it so overblown and bombastic that you can’t but smile.
Single Civilisation is up next and immediately opens with that catchy-as-hell guitar riff. Then it’s into a breakdown and restarts with British pop singer Ali Love providing vocals, which compliment the music perfectly. The chorus is something you can yourself first-pumping and moshing to over the summer and the keyboard arrangements add a touch of class to the overall sound.
Ohio sees the first dramatic shift on the record with a gathering of voices all singing in a Capella before the sound takes on a more downbeat and chilled mood. To be honest, it definitely not the best track Justice have ever written, but it seems to work in the scope of the record as a welcome change after the ferocity of the opening two tracks.
From there, Audio Video Disco continues to throw up surprises. The very Daft Punk Derezzed esque Cannon brings a new element to the record with its fast paced electronic keyboard sounds. Brianvision introduces a very cool Queen-like guitar solo and Helix has a swanky groove to it that is incredibly infectious. However Parades does seem to lag with no real chorus and a dragging handclap section backed by a repetitive synth.
The title track ends the album and sees a song much more in the style of previous Justice we’ve come to know and love, with less of the glam guitars and more hard synths.
Overall, this is a game changer for Justice and possibly the dance scene this year. They’ve built fantastically on the sound of their debut instead of playing it safe. It might be a bit over-the-top bombastic for some people, but that’s the whole point of it. It hits you square in the face and leaves you wanting more. With Audio Visual Disco, the Justice produced a truly fine record that has pushed the boundaries of modern electronic sounds
Sebastian Betten