Montreal is on the map right now for Angine de Poutrine’s wacky, brilliant genre-defying madness, and La Sécurité fit neatly into that same spirit of creative freedom and expressive fun with a record that’s fast, absurd and completely committed to making you dance.

It’s clear that Bingo! is a punk record from the very first seconds of Snack City from the pace, the rumbling bassline and the clattering drums, but this is a punk record with no rules about where it can go from that jumping off point. The pace and the grit are punk but everything is up for grabs as much of Bingo! feels like a punk band playing their hand at disco, new wave, electroclash, post-punk and mid-2000s indie simultaneously with roots in that moment when punk was only a few years old and bands like Blondie and Talking Heads were still concerned with making people dance to pop songs.

Before punk became regimented and rule-bound you could play keyboards and sing about anything because the whole point was to throw the rulebook out, and that spirit is completely alive and well throughout Bingo!. The basslines are fat and fun with a warm and rubbery tone driving everything forward, and there are hooks left, right and centre from guitars, synths, vocals and more all stacked on top of each other with gleeful abandon.

Deny could be an LCD Soundsystem track, and Detour is extremely bouncy sounding like Devo with great twangy guitar lines and crazy overwhelming synths. Power Snoozer is an absolute belter with a big fat bassline in call and response with a ragged synthesiser, stacking hooks on hooks with a piano lick arriving around a minute and a half that’s one of the most memorable moments on a record full of them. The whole song then breaks down into a really heavy surf-swing rumble before crashing back into all the best hooks for the final breakdown, and there are about a dozen catchy moments in this single song that you could point to and call brilliant.

Princesse is a hypnotic post-punk song with reverb and space, and the title track Bingo is blatantly built for dancing with catchy synth lines all over it, holding a riot grrrrl Kraftwerk quality combining feminine aggression with robotic poppy precision. Chill Pill feels rooted in the post-punk of Sioxsie and the Banshees, and Nah Nah is two minutes of pure go-go energy sounding like The Bangles. Ketchup closes the album with high pitched screaming in the spirit of Oh Bondage Up Yours! while the bass and guitar play in deep, groovy unison underneath, and the record ends having gone all over the place in half an hour.

Flitting between English and French, Éliane Viens-Synott is a cheeky and unpredictable presence, as the music focusses on making you dance and sweat whilst catching you off guard with left turns. Great punk music for people who like to dance.