Justice
Audio, Video, Disco
Ed Banger Records/Because/Elektra, 2011
Justice has put out another album with inscrutable intentions. It seems they were not content leaving the world baffled as to how its oddly palatable combination of Iron Maiden and Larry Levan made “Waters of Nazareth” a breakout single. No, the musicverse of 2011 must now ask itself: how and why on earth would anyone create Audio, Video, Disco?
From vocal stylings more reminiscent of Gregorian chants than Top 40, to 21st century synth tones processed to sound like distorted guitars of the 20th, the record bears an overwhelming strangeness, stranding it in musical territory left uninhabited since Rock and Disco diverged in the late ‘70s.
It should come as little surprise that unsuspecting listeners and cognoscenti critics alike are confused as hell.
There’s really only one thing that’s certain about Audio, Video, Disco: somehow, you can dance to it.
Propulsive hi-hats and plasticky snares manage to maintain a kinetic vibe amid baroque harmonies voiced by oddly distorted synths on “Horsepower.”
Even “Canon,” Justice’s techno tribute to the guitar-shredding metalheads of the ‘80s, eeks out a booty shake or two from rapidly trilled arpeggios, washy cymbals and those omnipresent Bakelite snares.
Those familiar with Justice’s first LP — and its characteristically mysterious symbol-title, † — should expect a little less euro-techno, a little more guitar-rock and the standard weight of weird.
To the uninitiated, turn down your speakers — Justice mixes really loud — and let their unique brand of campy strangeness wash over you like the lukewarm beer that ruined your shirt at last year’s Led Zeppelin tribute-band concert.
All in all, Audio, Video, Disco is a worthwhile, if not often frustratingly ironic, listen from a group pushing the boundaries of modern dance music. May I only request that the children’s choir vocals from D.A.N.C.E. make a triumphantly saccharine return on their next record?
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