Justice, “Hyperdrama.”

Things are ramping up quickly for Gaspard Augé and Xavier de Rosnay, the French electronic music duo better known as Justice. The group’s latest album arrives on the heals of an appearance at Coachella, often a good indicator of upward trajectory. While the pair have made music together going back to 2003, they’ve spread their albums out and Hyperdrama is just their fourth and first since 2016’s Woman.

The ambitious 12-track record brings a zeal and larger than life ’70s-esque rock bombast to what is otherwise a modern electronica album. While most of it is instrumental, Justice recruited a bunch of musical friends, who contributed in numerous ways. Theatrically, the guests are given :starring” labels on their songs rather than typical features.

Tame Impala jumps on two polar opposite cuts; opener “Neverender” is a spacious and percussive classic disco-influenced track with psychedelic vocal parts, while the arrangement naturally weaves into the fabric of the song without overstepping.

“One Night/All Night,” which falls a third of the way into the album, brings a similar tempo, but hits with a more distinct backbeat and funky and disco-like bass line, pulsing with energy. The Tame Impala vocals again mesh well with the music, though this time around the singing feels more organic and less modulated.

Eritrean-born vocalist Rimon chips in on “Afterimage,” a darkly melodic stomper that keeps the Justice vibe but in a very different personality. Rimon’s voice carries a neo-soul quality, making this one of the best songs on the record. But the songs without contributors are just as musically interesting. “Generator” is a dance cut but also a rousing stomper, rising and falling.

Space rock tunes “Dear Alan” and “Incognito,” which play like two halves of one song, offer a more refined synth polish and expansive sound, a la Passages-era Maserati. The sounds aren’t all electronic; there are traditional instruments mixed in as well, which adds another layer of depth.

English pop duo The Flints add their voice to “Mannequin Love,” which feels decidedly more futuristic than the album’s nostalgia-wave-riding tunes. Again, the vocals fall into the rest of the arrangement rather than riding atop it. It has a seamless effect that draws you in to surgically inspect each of the song’s parts.

“Moonlight Rendez-Vous” works almost like a pace-changing interlude. This piece of darkly noirish jazz, with a moody saxophone and synth, and a slow-heartbeat-like drum pattern breaks up the high octane power of the rest of the record. Connan Mockasin (New Zealander Connan Tant Hosford) joins in on the spacey and weird “Explorer.” Have fun trying to dance to this; maybe if you’re Wednesday Adams you’ll get away with it. The song takes unusual turns and there’s even a spoken word bit that recalls the intro of Michael Jackson’s “Thriller.”

The second half of the the album takes Hyperdrama in quite a different direction. No longer is it about grooves and raised uptempo tracks. Instead, it’s full of  timeshiftimg oddities that again challenge listeners. “Muscle Memory” and “Harpy Dream” are examples of this. Then, on “Saturnine,” Miguel enters the fray. The song feels much more mainstream as the soul singer does his thing and the production pushes his voice to the forefront.

Bass whizz Thundercat (Stephen Lee Bruner) hops aboard the Justice train for album closer “The End,” which combines soulful singing with warp-speed electronic hi-hat-riding percussion.

“Is this the end?/ ‘Cause I remember this feeling,” the duo proclaims with its last message, perhaps before losing the keys to their studio for a few years.

Follow writer Mike DeWald at Twitter.com/mike_dewald.