Justice have released “Pusher”, their first collaboration with Gesaffelstein and a second preview of the original music they composed for “Grand Theft Auto VI”. The seven-minute track arrived on October 29 alongside details of “Grand Theft Auto VI: Original Score”, due December 11. Its 30 main compositions will be accompanied by digital bonus material, with double-CD and triple-vinyl editions also announced for the release.
Justice begin “Pusher” with persistent, heavy bass and electronic sounds that rise and fall in intensity. Gaspard Augé and Xavier de Rosnay give repetition and small arrangement changes room to develop, rather than rushing immediately towards a single climax. Gesaffelstein’s contribution fits this darker setting while leaving the French duo’s own musical character recognisable within the collaboration.
Running a little over seven minutes, the piece unfolds through successive sections. A strong pulse and synthesisers dominate the opening half, before the texture changes to reveal disco elements and strings more clearly. Its development maintains tension across a longer form, giving the production itself a substantial role in holding the listener’s attention.
The meeting brings together three French electronic musicians with distinct histories. Gesaffelstein, whose real name is Mike Lévy, is associated with austere, often threatening productions. Justice have moved from the distorted force of “Cross” towards the melodic and disco influences of later albums. “Pusher” presents their first shared release, allowing those different approaches to meet within one extended recording.
Rockstar Games announced the album details on the same day. “Grand Theft Auto VI: Original Score” is due on December 11, 2026, through major streaming services, with a double CD and triple vinyl also planned. The main collection contains 30 compositions from the duo’s work for the game, alongside additional digital bonus tracks.
A limited clear-vinyl version of the three-record set has also been announced. Those editions present the composed score as a release listeners can hear separately from playing the game. “Pusher” gives one advance example, but the available announcements do not identify a particular mission or scene in which this individual composition will be heard.
The score album is distinct from “Grand Theft Auto VI: The Album”, which gathers songs by different artists associated with the game. Justice’s “Original Score” concerns music written to accompany the action. That difference matters in a series where radio stations and selected songs form a familiar part of the experience but serve another function.
Xavier de Rosnay described the assignment as requiring considerable musical variety. The game’s geographical scale and range of subjects meant the score needed to cover different emotions, genres and textures. According to his explanation, the composers had freedom to explore the directions they needed, rather than being confined to one repeated style across the entire project.
The announcement also describes music adapting dynamically to the player’s movements and actions around Vice City and Leonida. That establishes the score’s broader interactive role without revealing the precise placement of “Pusher”. Any claim about a specific sequence would go beyond what has been disclosed, even though the composition’s darker sound suggests a distinct mood.
Justice previously introduced their involvement with “Flower in a Hurricane”, featuring Tame Impala, SZA and King Gizzard & The Lizard Wizard. That recording also appears in the official launch trailer. Its combination of different voices contrasts with “Pusher”, offering another entry point into the range the composers have described for the game’s original music.
Augé had highlighted how the earlier song’s guests came together. He noted connections between Tame Impala and King Gizzard, alongside SZA’s different starting point, and the interest of placing those voices in one recording. Gesaffelstein brings another kind of encounter: a collaborator from the broader French electronic scene who has established a separate aesthetic of his own.
The assignment follows “Hyperdrama”, the 2024 Justice album on which the duo worked again with Tame Impala’s Kevin Parker. “Neverender”, from that record, won the 2025 Grammy for Best Dance/Electronic Recording. Their experience with large-scale electronic work, both on record and onstage, provides a background for music requiring forms beyond the length and structure of a conventional single.
“Grand Theft Auto VI” is scheduled for November 19, 2026, on PlayStation 5 and Xbox Series X|S. Set in Leonida, it follows Lucia and Jason, with Vice City forming a central part of its world. The game’s arrival and the score album’s later December release are separate dates, allowing the music its own subsequent presentation.
For listeners encountering the music outside the game, the extended format also separates “Pusher” from a short preview excerpt. It is available as a complete piece with its own development, while remaining one part of a much larger commission. The December collection will place it alongside the other compositions, allowing the differences between moods and arrangements to be heard across the score rather than inferred from just two advance releases currently available before the album’s release.
Until the full album arrives, the two available compositions reveal contrasting parts of the Justice approach. “Flower in a Hurricane” foregrounds its meeting of voices, while “Pusher” lets rhythm, bass and gradual production changes sustain an extended piece. The new collaboration is available to hear now, with pre-orders open for the complete score and its announced physical editions.
