Because Music France Vinilo y CD

Review: In recent interviews, Justice explained that fourth album Hyperdrama - the wildly successful French duo's first for seven years - was born out of the idea of getting elements of disco, funk and electronic music to "fight with each other" (rather than smoother co-existence). Given the forthright and sometimes abrasive nature of their work, it's an idea in keeping with their career to date. Musically, what we get is a mixture of their usual electroclash and rave-inspired riffs and motifs, and basslines, strings and other instrumentation rooted in black dance music of the 1970s and '80s. When the fusion lands - as it does much of the time - it's a unique and thrilling fusion. For proof, check Tama Impala hook-up 'One Night/All Night', the Italo disco/jazz-funk/electro-house fusion of 'Incognito', and the wonderful slow-boogie mutation 'Saturine'.

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: 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'.