Sharp, disjointed post punk. These four words describe the debut LP of Bradford native, (but currently Guelph resident) indie rapscallions Burn Planetarium’s Valse Mechanique. Despite the foursome’s academic obligations, they have managed to hunker down and write a collection of very upbeat dance punk songs that are both anthemic and hook laden.
Utilizing pop vocal arrangements and amalgamating them with quirky, intellectual lyricism seems to be the band’s aural objective, and with very effective results in this reviewer’s opinion. The constantly layered dual vocals compliment the infectious shout along choruses and “oh oh oh “s throughout, allowing singers Ben Landau and Sean Mckee to express their individual manifestos on love, art, and the future existence of humanity simultaneously. Their dense form of songwriting is extremely effectual, for two perspectives are provided vocally for a single song, evoking a dualism that does not allow the listener a moment to breathe while being barraged by the post-punk dance party.
Bombarding the listener right off the bat with screamed “ha ha ha”s is the foursomes method of beginning Valse Mechanique. Shoving their abrasive brand of dance punk in the face of the listener with the opening track “Death Death Death” brought smiles of delight to this reviewer’s oral cavity. Setting the tone for the rest of the record, this track showcases the bands up tempo, driving beats and their well attuned hook writing capabilities. Their utilization of dual vocals is established during this opener as well. The composition of the chorus consists of one singer hitting a higher note and holding it while the other rifles off a line underneath in a lower register, all at the same time, being a motif that the band employs throughout the record.
Subtle drum taps accompanied with clapping hands and a sparse keyboard melody is the ground work laid for the next track, “Frankenstein Kids.” Landau’s declaration of latent inhibitions “the future scares you, rattles the bones, impairs you” leads into the driving verse of the song, showcasing the band’s ability to transition very effectively from subtle to driving aesthetic . Their usage of stop, go, soft, loud dynamics advocates the duality inherent in the band as mentioned before. This dual nature allows the paunchiness of the transitions to ring out proficiently, which is another pattern that is dominant within the record.
Lastly, this reviewer’s personal favourite track on the album is the romper “Skeptics.” Beginning the song once again is the band’s sparse instrumentation, the rattling drum beat and bass line being accompanied by Mckee innocently vocalizing likeable passes at an addressee who is of pseudo-academic inclinations. The first transition implements another guitar line, with singing duties being taken over by the other respective voice, Landau. Imploring “so every skeptic burn,” the song kicks into another hook encumbered chorus, chock full of “who-oh-ohs” and Burn Planetarium ‘s quirky wit.
All in all, this debut is very formidable. Having self created and recorded this album, the band has a final product to be proud of. Weak spots are few and far between, and the shear number of stand out tracks on it induces the talent present within the four young men. Poignantly uttered in my favourite tune, “skeptics, be forewarned” … Burn Planetarium will be entering the stratosphere fast and strong.
March 26, 2008
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