Vienna Psychoanalytic Society are an Electronica dance, alternative, pop band from Waterloo and Toronto Canada, whose catchy and diverse songs are a bench mark for guitar and electronic fused music. Following the success of their first album, “State of Mind,” in 2009, which featured in the MTV shows “The Real World: D.C.,” “Styl’d” and “Bad Girls Club”, they released their second album “Anthems for the Disillusioned” in May 2011. The band don’t disappoint with their collection of experimental guitar riffs and multi-layered retro/poppy/industrial synths.
Far from Perfect
“Far from perfect” appears to be a song about a man feeling the pressure of the rat-race, but despite his desire to be successful, acknowledges his own limits. The song begins with a fragmented sounds cape which kick-start’s with a military style drum beat, which suggests a battleground (this theme runs throughout the song). It’s this opening musical interlude that showcases the diverse musical sounds. From wavy and whirly synths to New Order-esque guitar riffs, which play in juxtaposition against more scrapey guitar riffs, which later become unified and cohesive within the song. “Far from perfect” embraces musical influences, whilst sounding fresh and polished. Surprisingly it’s the drum beats, which play a significant part as they morph from the military, to an industrial, Zooropa style adding a more insular mood to the song. However, what’s interesting about “Far from Perfect” is the shooting-style sound effects, which add a darker element to the song, suggesting subtle despair and manifests itself as a metaphor for the song. It also adds an abstract undertone, to the lyrically concise and reality stricken chorus: “Far from perfect, far from perfect, far from perfect I never said I was…”.
The girl in the silver dress
“The girl in the silver dress” appears to be a song about the value of love and how it revitalised a person’s life when they had previously been in a dark place. The opening lyrics: “Detached from my normal state. Heavily invested in routine and fate. You made me forget about everything” candidly reveals the core dark insular emotions that lurked deep within. Starting with bouncy, thumping, space drums, “the girl in the silver dress” experiments with an array of sounds, including industrial drums, which chop in and out of the song. Furnished with a dark velvet backdrop of synths, “the girl in the silver dress” is vocally delivered in a metallic, electronic, slurry drone against the murky, brooding synth waves that slither like a snake in a dark, deviant underworld. It’s when the chorus erupts that these synths are replaced by a stilaphone-sounding keyboard, adding a more spacey, glam rock vibe to the song. However, it is within the outro that the music becomes more free, adopting Primal Scream type euphoric sounds, crossing over into an acid-rock genre that floats wistfully in sonic space…
Chip on my shoulder
“Chip on my shoulder” takes more of a quasi-political stance which I interpret to be about capitalism, where the vocals are delivered on a megaphone platform which captures the fiery angst of the song. Pulsating with a thumping fast tempo, it’s the weighty guitar riffs and poppy synths that charge the John Lyndon type rants into the spotlight: “these people don’t know what life is about…”. With a brief vocal interlude which, followed by a myriad of quintessential 80’s synth-pop, “Chip on my shoulder” is a dynamic track, where the walls are painted red, pink and black.
Culture of Idiocy
“Culture of Idiocy” is a song which appears to be slating culture and is possibly VPS’s most original song, embracing a spectrum of intricate sounds which all shine vividly in their own right. Lyrically the song captures the frustrations of modern society: “ I don’t care about celebrity .. who they sleep with, what they wear… “ In particular the acoustic guitar strumming intro, accompanied with electronic drums and sonic rimmed base showcases the diversity of the song. With electronically enhanced vocals, “Culture of Idiocy’s” metallic backdrop becomes more magnified with its vibrato, distorted, textured guitar interlude, over-driving towards the Edge’s territory. With its brooding synths and distinctive dual vocal interlude: “Why don’t you put your arms around me”, “Culture of Idiocy” is musically impressive, which ends on an electrifying crescendo.