November 3, 2011 Leave a comment
Anyone who is a fan of dance music definitely knows who Justice is. Even those with only just a passing interest in dance music will still likely know who Justice is. I definitely fall into the former, and hold Justice’s Cross album in especially high esteem. So when it was announced earlier this year that the duo’s sophomore album would finally be released this fall, I was filled with dread as much as I was filled with excitement. Then in late October, after five long years following the release of the acclaimed Cross, it finally happened: Justice released its follow-up, Audio, Video, Disco.
Cross consisted of tracks like “D.A.N.C.E.”, which had major crossover appeal. The album was also full of hard rhythms, with lots of bass distorted at almost every turn on tracks like “Phantom,” “Stress” and “Waters of Nazareth.” As Justice started to drift into the EDM background after extensive touring in support of the album, the popularity of the electronic-French-House genre that Justice helped to reinvigorate was at a high point with dance music fans. The hard beats and basslines that Justice helped to usher into electronic music’s current state has already begun to give way to even harder beats and basslines by their contemporaries. The popularity of U.K.-bass and dub-step in Europe has now taken over North America, morphing itself into a genre that is largely popular for
its hard and grinding beats that wobble and boom. The influence of dance music is even reaching Top 40 radio stations here in the States. The landscape of dance music has definitely changed in five years, and after listening to Audio, Video, Disco, it is apparent that Justice did not want to make another album exactly like Cross.