Because Music France Vinilo y CD

Review: French dystopi-dance duo Justice gear up for their fourth full-length album, Hyperdrama. Owing to their towering status as producers and artists, it marks their first album in seven years since 2016's Woman. Unlike the neater fusions of disco and funk that the band have achieved in the past, Auge and Rosnay describe their latest as an embittered battle between the two stereotypes, elaborating that the album 'oscillates between pure electronic and pure disco but you never really get the two at the same time'."

Review: Hyperdrama is the fourth full length album from the French Duo Justice. Two songs have preceded the album's May release. 'One Night/All Night (featuring Tame Impala)' is destined to be a club hit with its catchy EDM pop appeal. The bombastic electro pulser 'Generator' will also have a strong club appeal to it and you can expect the rest of the album to be just as strong with a production job that's clean and the tracks are powerful. This version comes in a beautifully designed gatefold 2xLP that also includes a sticker.

Review: Mother is Logic1000's debut album. An alias of Samantha Poulter, the Berlin-based DJ and producer explains it has been insured by her becoming a parent. "I felt so much love and inspiration entering into motherhood that I just needed to create something really powerful," says the producer who hails from Sydney and has collaborated on the lad single 'Grown On Me' with her husband and long-time creative partner Thom McAlister. It is an album that runs that gamut from broken beats to smoky soul, shuffling basement grooves to heady and hypotonic, dubbed-out rollers.

Review: Belgian singer and producer Bolis Pupul releases his first solo debut album 'Letter to Yu' following his smash success with fellow DEEWEE artist Charlotte Adigery 'Topical Dancer', a satirical, yet hard-hitting, exploration of spirituality, racism and identity that the two experienced in Ghent as children of immigrant families. If you're a fan of the production of songs like 'Mantra', then this project is for you. Still keeping the witty elements from 'Topical Dancer' the LP, a reference to a great emperor of Chinese history, 'Completely Half' opens up with Pupuls hallmark 80s synthpop style, partnered with the typically Belgian cerebral approach to music and allusions to his mixed-race heritage. Pupul's beats feel pensive, yet danceable and the more deep-in-thought cuts like 'Goodnight Mr Yi' benefit from they dynamic contrast with more in-your-face cuts like the blaring 'Kowloon' and its siren-like supersaws.

Review: It's hard to picture the festival-minded electronic music scene of the past ten years without Daniel Avery in it. Since his first single drop in 2012 he's been on a meteoric rise, swiftly delivering his debut album in 2013 and presenting himself as a fully realised artist with a clarity of vision and universal appeal. It's techno for the masses without a shred of compromise, and now you can track back to his landmark opening statement for a special Tenth Anniversary Edition. Pressed up in a gatefold sleeve on white vinyl, this is a welcome revisit to Drone Logic which many will be more than happy to do, given how rapidly Avery was taken into the hearts and minds of the UK party public.

Review: ***B-STOCK: Slight dent om the edge, otherwise in perfect condition***


Second time around for Volume 2 in the Shaolin Soul series, which first appeared in stores way back in 2002. Like its 1998 predecessor, the collection gathers together tracks sampled by compiler RZA and other members of the extended Wu-Tang Clan organization. As you'd expect, there's some absolute belters to be found across the 38-track double album, which also comes bundled with a CD containing the same tracks. Highlights come thick and fast and include the hard-spun ghetto soul of Baby Huey and the Baby Siterres' "Hard Times", the organ-heavy, heart-aching brilliance of Syl Johnson's "I Hate I Walked Away" and the low-slung, bluesy growl of Southside Movement's "I've Been Watching You".

Review: Originally from Australia, now based in Berlin, Parcels are the consummate live disco-house band. In the past four years they've demonstrated that on their studio recordings, but they're the kind of outfit which really make sense on the stage, as all the players vibe off each other and the crowd in pursuit of dancefloor perfection. After their widely celebrated first live album back in 2020, they're back with another volume which captures the set they've been playing out in more recent times. If you need an instant portal to peak-time, glittery festival magic, this live album is your dream ticket.

Review: One of the joys of Christine and the Queens' impossible-to-pigeonhole output has always been guessing what the gender-fluid artist will conjure up next. Even the Frenchman's most obsessive fans, though, will have predicted Paranoia, Angels, True Love, a triple-CD-length affair loosely based on Tony Kushner's legendary work Angels in America, a two-part experimental play about gay men in New York experiencing hallucinatory discussions with angels amidst the AIDS epidemic. It's not a wholly unsurprising turn, but still an unlikely project - and unlikely projects have always been the artist's bread and butter. Musically, it's a strong set that expands on the artist's now familiar blends of pop, r&b and electronica, and also contains some eye-catching collaborations and guest appearances - not least from the Queen of Pop herself, Madonna.

Review: Now comes the fifth album by German electronic trio Brandt Brauer Frick, known for their electroacoustic collisions of house and techno with live-played instrumentation. Multi Faith Prayer Room is their most ambitious album to date, including collaborations with Mykki Blanco, Azekel, Marina Herlop, Kom_I, Sophie Hunger and Duane Harden. It flaunts a mastery over a certain modern, hybrid approach to making electronic music, combining drumming, bass, piano and vocals with drum machines and synths. A diverse, sprawling, border-melting, widescreen take on many dance genres out there.

Review: Pascal Comelade's Le Non-Sens Du Rythmefinds the French artists play almost all of the many instruments it features. He has been active since the 1970s, crafting ever evolving and ways moving rhythms from a mix of toy instruments, French chanson, folklore and underground sounds. The sometime painter has worked with the likes of PJ Harvey, Robert Wyatt and The Liminanas ever since goring up as a child of the frenzied rock sounds of there 60s. Here he fuses the Rickenbaker e.bass, Indian harmonium, keyboards and a tin can into something utterly unique and strangely compelling.

Review: If there was ever a duo with the bombast and flair to pull off the 18-minute electro-rock-opera, it's surely Justice. Gaspard Auge and Xavier de Rosnay created Planisphere in the wake of conquering the world with their debut album Cross, initially for use on the catwalk but subsequently shared on their MySpace. Of course such releases now attain a kind of cult mythos, and Planisphere is no exception. In the Ed Banger era of dirty French touch, this is a fans dream come true - the gnarly monster that keeps on giving, now pressed up on a single side of vinyl for continuous listening, with a classy etching on the reverse.

Review: Proudly pansexual pop artist Heloise Letissier has made some terrific music over the last decade, with each new album release being greeted by rave reviews. 'Redcar Les Adorables Etoiles', Letissier's third full-length, offers a subtle evolution of the Christine and the Queens sound. Whereas previous album 'Chris' (2018) blurred the boundaries between FM synth-heavy AOR synth-pop, R&B and the kaleidoscopic synth-funk of occasional guest collaborator Dam-Funk, 'Redcar Les Adorables Etoiles' explores the more atmospheric and stylized side of 1980s electronic pop, adding a few typically theatrical twists along the way. For proof, check out the grandiose chords, slow-motion chords and towering choruses of 'Le Chanson de Chevalier', the bubbly post Junior Boys aural melancholia of 'Rien Dire' and the throbbing, Euro-disco influenced mid-80s synth-pop of 'Je Te Vois Enfin'.

Review: There are times when you really just have to thank the musical gods for giving you an opportunity to escape from the mundanity of it all. That has been happening on average every three years since Django Django exploded onto a very different-looking music scene back in 2012.

None of us have looked back since, with the two records betwixt this and the self-titled debut serving to lure us deeper into this surreal, arty, muscular, danceable and altogether fun-but-proper musical world. Glowing In The Dark is certainly another trip to add to the adventure, and perhaps fittingly has its genesis in a warped painting rediscovered in drummer and producer Dave MacLean's parents' attic. Aurally, that translates into what might be their broadest and bravest yet - from video game scores to psychedelic pop, acoustic dreams through sweaty, reverb-heavy headline bombs.

Review: Canadian minimal veteran Tomas Jirku has been a little quiet of late, but now he makes a welcome and unexpected return with something quite different for Silent Season. You can hear echoes of his earlier work in the soundscapes he's sculpted across Touching The Sublime, as high-definition sonic manipulation draws on his experience and eye for detail in wielding music technology, but rather than creating pointillist rhythmic structures, he's more concerned with billowing clouds of ambience. It's easy to draw parallels with the likes of Tim Hecker, but there's space for more techno-oriented productions in the midst of the maelstrom. Epic in scope and powerfully rendered, this is an album that will feed your head for a long time to come.

Review: Here's something you don't come across that often: a "live" album that captures straight-to-tape (literally) studio recordings rather than a performance in front of the paying public. In Parcels defence, the results are impressive, in part because their chosen location, legendary Berlin institution Hansa Studios, boasts the kind of analogue recording and mixing equipment that neatly fits their warm, mixed-up trademark sound (think West Coast rock, blue-eyed soul, funk-ruck fusion). Many of the songs segue into each other as they would during a live performance, with new interludes and previously unheard songs adding a frisson of disco-fired dancefloor goodness to proceedings. It might not be a pure live album, but it's a hugely enjoyable listen.

Review: 43 years ago French disco legend Cerrone mused on humanity's impact on the earth on "Supernature", his most celebrated record by some distance. He takes a similar approach on his 17th studio set, a collection of dramatic, synth-laden disco cuts that recalls the grandiose, rush-inducing approach of his finest dancefloor moments. There are nods towards fellow French pioneer Jean-Michel Jarre and - more surprisingly - Pink Floyd dotted around the album, as well as plenty of insatiable grooves, thought-provoking vocal samples, soaring strings and colourful synthesizer parts. Cerrone has largely steered clear of disco for decades, so "DNA" feels a little like a thrilling return to his roots.

Review: It's easy to forget that Justice were once one of dance music's most hyped acts, gracing magazine covers and gate-crashing the pop charts with a succession of crunchy, electro-house bombs. Times may have moved on, but the Parisian duo remain big news. Woman is their first studio album for five long years, and smartly moves between quirky, radio-friendly pop and thrusting club workouts. In the latter category you'll find the spiraling, low-slung, Italo-disco-with-balls of "Alakazam", the classic Ed Banger growl of "Chorus", and the vintage Daft Punk madness of "Heavy Metal". While these are impressive, it's actually the more downtempo songs - "Love S.O.S" and the dreamy "Close Call" included - that arguably stand out.

Review: Judging by the overcrowded sweaty scenes in Dalston for the launch party of Justice's second album, the iconic French duo still retain a core number of fans - who will no doubt be eager to snap up this deluxe version of said album. Audio Video Disco comes in gatefold, silver embossed sleeve, holding both the double vinyl and CD versions of the eleven track album. Musically, this is an album that delves deeper into Gaspard and Xavier's passion for prog, marrying the jagged harshness of the 07 era when they ruled the roost with stadium sized ambition. It's probably one of this year's most divisive albums, but then Justice have always liked making a noise.