Justice (3) ‎– †

A perfect album with the real french electro sound.. 10 out of 10 points for sure

I say: DAMN, WHOHW!
This album really rocks the rockets of their sockets! One of the absolute highlights of electronic dance music ever! It's diverse, entertaining, reigning from cliché disco to underground industrial, but it also is as cohesive as it is a pile of experiments. Nothing can top this. If you don't rate this 5* you're out of tune with the time we're living in.

This album is very...interesting. Justice's first album has a sort of, very unpolished sound full of radio interference that you'll really just have to hear to actually get a feel of what the album sounds like. It's a very unique album, but some of the songs are very..."Rollin' and Scratchin'"-esque. A lot of radio interference, with some melody. That's not to say all the songs are like that, as D.A.N.C.E is a pleasurable song, and NewJack, Valentine, and Phantom have that French flair to them. but Justice seems to have a thing with the sound of radio interference, and loves to throw it into their songs, which gives the whole album a slightly electro feel as well. If you're a Daft Punk fan, don't expect anything much like Discovery or Homework on here, Justice is just really, their own sort of thing.

Comparing Justice’s heavy bass and entrancing melodic strings to that of electronic royalty, Daft Punk, may be getting a little old but in their debut album, Gaspard Augé and Xavier de Rosnay, the hands working behind the magic that is †, create an enthralling composition of hits. While Justice certainly deserves the same recognition that the house super stars Daft Punk gets, the group is not just looking for imitation or following in the footsteps of techno giants. Justice brings a sound uniquely their own creating songs reminiscent not only of DP and Mr Oizo, but also stylishly blending in heavy metal influences.
The debut album comes highly anticipated ever since the single “D.A.N.C.E.” became an internet sensation (Justice has a large amount of success thanks to the youtube phenomenon). The rest of the album does not disappoint. Many tracks besides their break out single, including “Genesis,” “Phantom,” “Stress,” and “Waters of Nazareth,” are almost overnight classics sure to fill the walls of clubs everywhere.
The group relies heavily on addicting, distortion-heavy beats usually with sound clouds providing a solid background with which to work with. A good example of this is the track “Stress” which uses a repetitive somewhat melodic sound cloud and a fairly simple distorted beat to build up the song. However, the track doesn’t really get anywhere until about the three minute mark when we start to see a few more samples coming into play but the song pretty much just builds for the majority of the track with a voice sample to play the song out. While the group mainly relies on multiple samples from varying sources, it does credit “Phantom” and “Phantom Pt. II” to “Tenebre (main theme)” (from the film Tenebre) by Goblin. In Phantom, the score from Tenebre is sped up from the original and the bassline is distorted and manipulated. That along with a few other samples is the basic make up of the song. The group uses a wide variety of samples including the Childrens Choir from the United Kingdom in its hit tribute to Michael Jackson, “D.A.N.C.E.” Again, the bass reverberating disco beat creates a party atmosphere that is typical of the album as a whole. Maybe the most astounding part of the creation and production process is that the group used as many as four hundred albums for samples through microsampling and somehow found a way to make each of the dozens of pieces come together seamlessly in an artistic vision. For example, De Rosnay stated that “there are samples of Slipknot, Queen and 50 Cent, but they are such short samples no one can recognize them.” Microsampling should not, however, be confused with mash ups. The microsampling process takes a significant more would at blending sequencing the various samples than a mash up which might include as few as two pieces of source material. “Let There be Light” provides a good example of frequency modulation with the end result of a simple yet exciting melody.
Overall, a very solid album, although at times a little stale in its variety. There is certainly a distinct style that the group fully attempts to make its own. Do not expect the fame of Justice to last just fifteen minutes. These masters of their craft are here and they are here to stay.

Kv, the phantom line was intended, if you read reviews they said that was the only sample they intended to be discovered.
Hell even in the sleeve(if you bought the album) gives credit to the track.

What next, are you gonna say armand van helden / paul johnson / daft punk / kenny dope / and pretty much every house / electronic artist on the planet are all fakes because they used samples?

Its pretty clear on alot of house tracks if you listen to funk and disco and soul where alot of artists samples came from.

Peace

Upon listening to this album, I found it to be somewhat mediocre with two stand out songs: Dance and Phantom. I did enjoy these two songs and even played them at my parties since this seems to be the most appropriate venue for music such as this. However, I lost a huge amount of respect for Justice when I watched the movie Tenebre by director Dario Argento. To my surprise, the theme music for this movie is Phantom exactly, just slowed down. Essentially, Justice has done nothing more on Phantom than steal an unknown score, speed it up, and do their signature processing to the bassline to make it sound more current. This makes me wonder how many other Justice songs are also rip offs of previous music.

Absolutely Ridonkulous!! Halloween nite @ a women's roller derby on acid is the best way I can describe it. And as fuck-off & brilliant as it is in all of it's raw-epic-trans-decade-embracing-french glory, it still has 2 crossover singles that even MTV can't resist exploiting.

And while it definitely carries some stylistic hat tips to former French icons like Mr. Oizo & Daft Punk, it still extrapolates enough to deliver a satisfying dose of both the familiar & the new. But don't let the superficial semantics distract you from the greater stylistic whole. † even ebbs & flows through disco-infused sampledelica, post rock, & the melodic cerebral nostalgic bliss of Boards of Canada.

IMO, It's probably the most impressive artist album since Tipper's Tip Hop. A relentless selection of outstanding tracks that seamlessly meld together (not a live mix in this case) into an impressive & cohesive debut album.