2016年に発表された『ウーマン』以来、約8年振りとなる待望の新作

先行でリリースされたダブル・シングル、「One Night/All Night (Starring Tame Impala)」と「Generator」に象徴されている様に、ディスコ/ファンク、エレクトロニック、ハードコアテクノ等の様々なジャンルが共存しながらも、それぞれが競い合っているような世界を表現した作品

発売・販売元 提供資料 （2024/03/04）

Ever since their early singles, Justice have challenged expectations, and on Hyperdrama, they show no sign of stopping. Given that eight years separate this album and its predecessor, Woman, it could be assumed that Gaspard Auge and Xavier de Rosnay were ready to take dancefloors by storm once again, but on Hyperdrama, atmosphere is king. The duo recorded the album at de Rosnays home studio, and it often sounds like dance music for a night in; on "Dear Alan," vinyl-like crackles permeate drifting clouds of synths and intricate bass. At other times, the album feels strangely distant, like music coming from a club a few blocks away, as on the aptly named "Afterimage," where RIMONs breathily pretty vocals heighten the tracks overall wispiness. Occasionally, Hyperdramas haziness works in its favor: Tame Impala brings enough presence to both "Neverender" and "One Night/All Night" to lend some momentum to their blurry grooves. However, when Miguel comes in loud and clear on the new jack-tinged "Saturnine" and Thundercat presides over the moody disco-funk of "The End," its undeniable that the albums energy level surges. Likewise, "Generator"s looming synth riffs, choppy textures, and rolling beats show that Justice can reinvigorate their signature style without relying on played-out buildups and breakdowns. Fun sonic flourishes abound, like the heady call-and-response of "Incognito" or the winding melody that gives "Explorer" a phantom of the discotheque vibe, but ultimately, Hyperdrama is neither catchy enough to play to the duos pop strengths nor bold enough to highlight Justices experimental skills. That it doesnt leave much of an impression compared to the rest of Auge and de Rosnays work might be the most unexpected thing about it. ~ Heather Phares

Rovi