The Gal­lic party-starters stut­ter on al­bum num­ber three.

GAL­LIC PARTY-STARTERS’ STUT­TER­ING THIRD.

Q (UK) - - Contents -

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JUS­TICE WOMAN ED BANGER/BE­CAUSE MU­SIC, OUT 18 NOVEMBER

Like Daft Punk’s way­ward younger broth­ers, over the past decade Parisian duo Jus­tice have taught dance mu­sic how to rock. But while Gas­pard Augé and Xavier de Ros­nay nailed the es­sen­tials at the be­gin­ning, what with the head-bang­ing beats of de­but al­bum †, their art­fully dis­tressed leather jack­ets and a pul­veris­ing Mar­shall-stacked live show, their last al­bum, 2011’ s prog-rock in­fused Au­dio, Video, Disco, proved a dis­ap­point­ingly tame at­tempt to add a lit­tle sub­tlety to the mix. Woman, in line with its bold if never ac­tu­ally con­tex­tu­alised ti­tle, is at least a re­turn to dancefloor ba­sics. So in­stead of min­ing post-mil­len­nial elec­tro, the open­ing tracks form a se­quence of ex­pertly con­trived disco throw­backs. Safe And Sound, with its pop­ping bass, sashay­ing strings and breathy vo­cals, comes on like the sec­ond com­ing of ’ 70s leg­end Cer­rone, while Alakazam! chan­nels the satiny synths, but­tock-twitch­ing grooves and hard-revving break­downs of ’ 80s Italo-disco. Un­for­tu­nately, un­like their Daft coun­try­men, they don’t have a di­rect line to Nile Rodgers – or even Phar­rell – and half­way in the al­bum starts to stut­ter like a mir­ror­ball whose motor is on the blink. So while there are glimpses of mosh-pitt-rig­ger­ing oomph, most notably on rasp­ing pocket sym­phony Cho­rus, there’s also Love S.O.S.’s inane vo­cal hys­ter­ics. It’s not un­til Close Call’s quirky fi­nale, with its echoes of Gal­lic synth pi­o­neer Jean-Jac­ques Perrey, that Augé and de Ros­nay hit on some­thing fresh, though by then most of their pop-up dis­cotheque’s cus­tomers may al­ready have headed for the ex­its. HHH

Lis­ten To: Safe And Sound | Alakazam! | Close Call

UN­LIKE DAFT PUNK, THEY DON’T HAVE A DI­RECT LINE TO NILE RODGERS OR PHAR­RELL.

Jus­tice (Gas­pard Augé, left, and Xavier de Ros­nay): “re­turn­ing to dancefloor ba­sics.”

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