Justice and Gesaffelstein Drop ‘Pusher’ for GTA VI — And the Score Runs 30 Tracks Deep

When Rockstar Games announced that Justice would compose the original score for GTA VI, the response from the electronic music world was immediate and unambiguous: this is a big deal. Now, with the release of “Pusher” — a collaboration with Gesaffelstein and the first proper preview of a 30-track original score — the scale of that deal is starting to become audible.

“Pusher” arrived via streaming platforms on October 29, 2026, three weeks ahead of the game’s November 19 launch. The track is not ambient underscore. It is a full statement: bass-heavy, structurally austere, built around stepping kicks and an ominous synth architecture that sits somewhere between electro and coldwave. It sounds like it belongs at 4am in a club with no windows, which is to say it sounds like Gesaffelstein’s natural habitat and like the darker end of Justice’s range.

The Commission That Changes Everything

Scoring an open-world game of GTA VI’s scale is a different kind of creative challenge than composing an album or a film score. The music has to function across wildly varying states — idle, chase, combat, cutscene — while maintaining a coherent artistic identity. Justice’s approach, based on the fragments available, is to treat the score as a full-length electronic album that exists in conversation with the game rather than merely serving it.

“The scope of the game is so large geographically and thematically,” Xavier de Rosnay told DJ Mag. The implication is that the 30-track album — due December 11, 2026, three weeks after the game’s release — will cover significant musical territory. “Pusher” is one data point. It is a severe one.

What makes the Justice–GTA pairing interesting beyond the marketing alignment is the arc it represents for the duo. Gaspard Augé and Xavier de Rosnay broke through in 2007 with the cross-shaped imagery and distorted rock-meets-dance aesthetic of their debut, then spent the years since complicating that identity: the orchestral ambitions of “Audio Video Disco,” the refined craft of “Woman,” and a recent run of collaborative work that has seen them move across genres without settling into any single one. Scoring GTA VI is the logical extension of an act that has never been content to stay in one place.

Gesaffelstein and the Sound of the Score

Mike Lévy, who records as Gesaffelstein, was an obvious choice for a track like “Pusher.” His work in the “Pursuit” era established him as one of techno’s most cinematic practitioners — someone who treats darkness as a compositional element rather than an aesthetic pose. The pairing with Justice for a GTA score is almost too logical, which is perhaps why it works.

The track itself does not overstay its welcome. It builds in the manner of a proper floor weapon — restrained at the top, increasingly dense toward the drop — before releasing into the kind of controlled ferocity that both acts do well. Whether it appears in a specific in-game context or forms part of the broader score remains unclear, but as a standalone listen it functions entirely on its own terms.

The Wider Collaboration Picture

The original score is Justice’s work, but the game’s broader music picture is extensive. Reports have named Tame Impala, SZA, King Gizzard and the Lizard Wizard, and Fred again as contributors to the licensed soundtrack. Travis Scott reportedly appears with production credits going to Daft Punk’s Guy-Manuel de Homem-Christo — a lineage connection that places the whole project inside a specific tradition of French-adjacent electronic music reaching across the Atlantic.

The combination of a bespoke electronic score and a carefully assembled licensed catalogue suggests a game treating its music with the same ambition it has historically brought to its visuals and open-world design. This is not incidental music. It is an editorial statement.

Electronic Music in the Mainstream

GTA has always been culturally ambitious with its in-game radio stations and licensed tracks — the Vice City and San Andreas soundtracks became genuine cultural touchstones for a generation of players. The decision to commission an entirely original electronic score from Justice, rather than curating existing work, signals something about where the genre sits in the cultural landscape in 2026. It is not a novelty. It is a first choice.

The score album on December 11 will be the fuller picture. If “Pusher” is representative — built for headphones and dancefloors in equal measure — then GTA VI will not just have a soundtrack. It will have a document. The question now is what 30 tracks of Justice-scored open-world chaos actually sounds like. One track in, the answer appears to be: uncompromising.