It is apt that both albums released so far by La Sécurité (‘Stay Safe!’ and ‘Bingo!’) contain an exclamation mark in their title. Their music is, in the best way possible, an immediate demand for attention and statement of intent. Mixing art-punk with shoegaze, noise rock and no wave, the bi-lingual Montréal/Tiohtià:ke collective channel the angular creative spirit of the likes of Devo, Kleenex and Talking Heads while creating a sound that is vibrantly modern. Ten tracks, all buzzing around the two- or three-minute mark, are delivered in a breathless rush.
‘Bingo!’ is a record that sets off like Usain Bolt and never lets up. Its opener, ‘Snack City’, is propelled by a scampering bassline, while synths create a poppy hook. The song is a light-hearted nod to their hunger when the song was being written and is filled with food-related puns. Its jittery rhythm mirrors the edgy sense of having consumed too much junk food. Félix Bélisle’s bass is also the star of ‘Deny’ while Éliane Viens adopts a sprechgesang vocal style in a tale of dysfunctional relationships and standing up for yourself. The synths again make the song memorable. ‘Detour’ captures their contradictions. Switching between English and French, they offer contrasting takes on the value of diverting from the intended path (“there is a road, a short break / but the detour is more scenic / and you’ll learn a thing or two” and “the detour will take you to a sorry place”), apt for a song simultaneously going to different destinations. The guitar and rhythms are in a constant hurry, pushing and pulling, while the synths form almost a jolly whistle.
The accompanying notes ask whether the bass riff to ‘Power Snoozer’ is “too weird for Choses Sauvages?” With its twisted glory the answer is almost certainly “yes” and that is an achievement to be celebrated. Beginning with the lines “wanted more time to rest my restless mind / the risk of snoozing, obviously is losing time” captures the state of being totally wired and synth runs consolidate the frenzy. The song briefly falls apart before resuming the sprint to its conclusion. ‘Princesse’ comes closest to allowing the pace to slacken. The band members swap instruments but the bass is still heavy. While the lyrics are primarily in French, the English words include a reference to being lost in translation which is indicative of their sense of mischief.
The title track provides a running commentary on a “Social gathering for those who aren’t dead yet” and is a celebration of older people having fun. With its references to Orange Crush and slushies, it is made to sound like a kid’s party; the interplay between bass and guitar is a particular delight while the synths bubble with E numbers. Musically, a ‘Chill Pill’ is the last thing La Sécurité are likely to take. The song of that name has a blaring synth to the fore, fully spoken lyrics contrasting with backing vocal disharmonies in the story of a relationship fizzling out. Composed in an hour, ‘Trixie’ is chaotic but coherent, celebrating the lives of sex workers and everyday hustle in a wider sense.
‘Bingo!’ ends with two French language songs. ‘Nah Nah’ is the shortest track on the record clocking in at just over two minutes and is a bass-led rush to the finishing line imbued with laughter that captures the giddy mood. Concluding with irresistible bounce, ‘Ketchup’ has a boisterous synth melody, loudhailer vocals and bass rumble.
It is noticeable that this review has contained an uncommon number of references to the bass and that indicates how La Sécurité operates. Rather than being an underpinning, the bass acts as a lead instrument, directing the songs. ‘Bingo!’ is an album for those who love music to be an adrenaline rush, making its points hectically and concisely. With their pop nous and polyrhythms thrown in, there is always much to enjoy. Often serious, always fun, ‘Bingo!’ is bedlam, danceable and utterly wonderful.
La Sécurité: Bingo! – Out 12 June 2026 (Bella Union)
Sécurité – Bingo [Official Video]
I was editor of the long-running fanzine, Plane Truth, and have subsequently written for a number of publications. While the zine was known for championing the most angular independent sounds, performing in recent years with a community samba percussion band helped to broaden my tastes so that in 2021 I am far more likely to be celebrating an eclectic mix of sounds and enthusing about Made Kuti, Anthony Joseph, Little Simz and the Soul Jazz Cuban compilations as well as Pom Poko and Richard Dawson.
