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Les Savy Fav’s Root for Ruin is an energy bomb exploding shards of high-tempo music abrasive enough to cut you. “Excess Energies” lives up to its name with a snare drum beating on the one, two, three and four pumping life into the song and into the listener. Like many tracks on the album, the staccato vocal lines keep the ears’ focus as the music underneath stimulates the rest of the body. With thanks to songs like “Dirty Knails” (a rock ‘n’ roll meets indie rock song) and “Lips ‘n Stuff” (a track with buzzing guitars reminiscent of a symphony of vuvuzelas) internal energies are already at a surplus by the time the tenth track comes along. Even on the second last track, “Calm Down,” the atmosphere isn’t soothing – the song title is ironic to the mood as the music features rough-yet-infectious, upbeat melodies. Overall, this stimulating 11-track album doesn’t get old, offering a quick boost to your heart rate without draining you completely. Any more could be ruining. - Robert Vandrish
Infacted recording artist Suicidal Romance reach out to a North American fan-base through Metropolis Records with their sophomore release Shattered Heart Reflections. The Estonian-based electronic group walks away from the gothic shackles that held most of their 2007 debut together, producing an album with substantially more modern flair and diversity. Dark romanticism still grounds the loosely translated gothic element contained by the lyrics, but the musical component provides a decidedly upbeat and positive tonality. Shattered Heart Reflections is filled with upbeat, danceable energy that pumps out enough electro-industrial oomph to fill any underground club dance-floor. Competent synth arrangements meld well with commanding vocals that noticeably step it up beyond straightforward dance music. Giving the bulk-load of the album its substance is the highly operatic vocal styling of lead singer Viktoria Seimar. She alone possesses enormous pitch control with a wonderful knack for the back-and-forth lyrical-play she does with Suicidal Romance creator/vocalist Dmitri I. Together they combine with more than enough emotional depth and moody clout to carry each song to new, heightened levels of dark synthpop. One of the clearest comparisons in the genre is one to L’ame Immortelle, but with Suicidal Romance there holds an arguably more charming quality within Seimar’s flawless, soaring vocal range. Fans of their darker sounding debut will note that the muted gothic overtones on this album provide a more accessible and somewhat more elevated listening experience. This direction towards a more positive electronic sound bodes well with Dmitri I. and his crew. Fans of the shadowy side of the band can still rest assured that the underlying anguish still exists on Shattered Heart Reflections, it simply comes through with a slightly more optimistic vibe this time around. http://www.suicidal-romance.com — Stephen Lussier
The Franco/German duo of Sebastian Lee Philipp and Valerie Renay, otherwise known as Noblesse Oblige, release their third full-length album Malady following a two-year gap since the 2008 release In Exile. Conceptually and theatrically gloomy, the new album is wrought with a great deal of dark elegance and upbeat rhythms. Delving into mysterious themes the lyrics embrace a great sense of mystery and forlornness which is amicably offset by an instrumental counterpart that fills the voids at every turn. The album shows Noblesse Oblige at their musical pinnacle with an acoustically grounded electro-fusion that far outshines anything of their own past. An assortment of exotic instruments heightens the overall melodic tone and bouncingly reverberates against the dark lyrical subject matter. The crisp guitar strumming matches Renay’s alluring voice on the opening track “Morning Docks” providing an immediate welcome into the album’s musical voyage. Songs such as “Beck and Call” or “Cracks on the Wall” introduce an almost pop-like Latino vibe to the music, creating fast-paced bridges in between some of the more shadowy tracks. The bluesy entry “When Thunder Breaks Up Under” darkens the tone of the album to a degree that takes the musical pace right down to its bare essentials. Songs like this one provide a wonderful forum for Renay to speak/sing her way through a song and easily prove her vocal worth. Philipp’s contributions to the album provide a wonderful vocal balance between himself and his female counterpart. Noblesse Oblige use Malady as a window that lets you into a world of lyrical wordplay with acoustical production at its finest. True audiophiles should take a listen with a decent set of headphones to really capture the live sensation that the album takes on. Arguably their strongest and most interesting offering since their emergence on the scene, Malady follows no specific genre template – yet it manages to combine everything together in a way that makes you want to return to it quickly as soon as it’s finished. http://www.noblesseoblige.co.uk — Stephen Lussier
Bishop Morocco’s self titled, 10-track album presents a variety of moments that are at times dark and heavy, and at other times light and weightless. All together the tunes help create a dreamy, far away niche where listeners can drift effortlessly into imagination. “Blind Vision” has hypnotic, dreamy vocals that seem to float from your speakers; the upbeat tempo and crisp percussion of “Petter” brings about a sound of clarity; while the infectious, darkened bass line of “White City” will easily bring you to your feet. Bishop Morocco at times holds a mystery that listeners can either try and solve, or listen to and experience through a great arrangement of unexpected melodies, upbeat bass lines and floating vocals. http://www.myspace.com/bishopmorocco -Xolisa Renee Jerome
Picture this: The music of Disconnect From Desire is charged with beautiful, airy vocal harmonies, floating melodies and upbeat, edgy drum patterns which seem to anchor and pull back to earth the heavenly voices of Alejandra and Claudia Deheza. Fused with an energetic new wave sound, songs like “Dust Devil”, “Windstorm” and “ILU” easily find ways to keep you on your feet while experiencing a pleasant feeling of tranquility inside. http://www.myspace.com/schoolofsevenbells -Xolisa Renee Jerome
With a follow-up of their first full-length album, Street Sweepers Social Club’s Ghetto Blaster EP is a sign that the merging of Rage Against the Machine’s Tom Morello and The Coup’s Boots Riley is a lasting one. With Riley rapping behind the mic, Morello can play the rhythmic riffs he etched into Rage’s sound (while haters of Audioslave can expel their sighs of relief). The seven-track EP hosts some new tunes as well as a recording of M.I.A.’s “Paper Planes,” a song they’ve been feeding live audiences for the past year. The band also covers LL Cool J’s comeback single “Momma Said Knock You Out”. Both these hits are very similar to the originals, with the exception that Morello plays all the effects on guitar – even the sounds from the gun in “Paper Planes.” Minus the covers, this EP continues where the Street Sweepers’ first album left off: with high-paced, funky hip hop/rock. The closing track is even a remix of “Promenade,” a song from their LP. It is largely the same, but its accompanying whispers and impressive new guitar solo add flavours the original tune never had. On the whole, this album is monotonously energetic, shifting only between heavy riffs, build-ups to heavy riffs and, of course, weird Morello solos. http://www.myspace.com/streetsweepersocialclub -Robert Vandrish
Hear Me Now is an ironically titled album by an appropriately named band. Secondhand Serenade’s opening track, “Distance,” offers little room between the band’s voice and any typical song of the emo genre. But once you put it in your head that the band is parodying the genre, it all makes sense. “Hear Me Now”? We’ve heard this same serenade firsthand when bands like Yellowcard and Dashboard Confessional broke into the mainstream. Seconfhand Serenade is indeed remarkably adept at poking fun at today’s state of music by showing that even well-performed and well-produced music can be painfully reiterative. But the album doesn’t stop at this one genre, it offers “Something More,” a piano-driven tune with a contemporary R&B styling atop the emo elements heralded by the album’s opening song. It sounds like a Timbaland production. Taking more from popular radio, “Stay Away” features a verse with constant, palm-muted guitar before it breaks out into a heavy Kelly Clarkson-like chorus. Overall, Secondhand Serenade masters their parody of all the cookie-cutter, radio-friendly emo and pop bands around today – well, about as well as I mastered sarcasm throughout this review. www.myspace.com/secondhandserenade -Robert Vandrish
Through 4 easy-going and down to earth tracks: “Nothing but Our Love”, “Vocal Chords”, “Simple Girl” and “God Only Knows,” Horse Power offers listeners a glimpse into the musical expressions to come from Joshua Epstein and Daniel Zott who together, make up Dave Earnhardt Jr. Jr. So easily, so effortlessly are listeners attached to the infectious melodies, steady beats and feathery vocals, that no matter how much you try to fight against it make you feel pleasantly happy inside. Take “Vocal Chords” for example, there is no way you aren't dancing, whistling or snapping your fingers while listening to this song – we’re taken to a place of sunny days, chirping birds, colourful-swirly lollipops and good ole’ times. What stands out the most on this EP are definitely the rhythms that these four individual songs consist of. Whether they’re upbeat or played down, they all have a steady feel good vibe to them. After listening to the EP, you can't help but look forward to hearing what the duo's full length album will sound like. What other moving rhythms will they create, and what other soul capturing melodies they'll sing? http://www.myspace.com/daleearnhardtjrjr -Xolisa Renee Jerome
Most 30-somethings might remember Zero 7 from their successful 2001 debut album Simple Things, or possibly from their variety of remixes from the early to mid-2000s. Toward the end of the millennium down-tempo music had become a fairly established flavour-of-the-week and the flux of electronic anti-mayhem that came about around this time peaked with the likes of Air, Groove Armada and Thievery Corporation. What Zero 7 eventually emerged with was an inoffensive sound that lacked the tongue-in-cheek attitude that the afore-mentioned bands had already successfully doled out. Waning interest in atmospheric electronic music ultimately prevailed and the whole downtempo scene soon deflated. Zero 7 was one of those bands who, although very talented at creating laid-back rhythmic pieces, fell into a category of all-but-forgotten electronic acts. Still producing studio albums as recently as 2009 the band has never managed to match or top the success of their debut. Now the British project comprised of Henry Binns and Sam Hardaker have compiled nearly a decade’s worth of music into a compilation that Atlantic Records has dubbed the ‘first ever collection of their finest works’. Record is comprised of the ‘hits’ (and some misses) that Zero 7 have gathered over this ten-year span. The record offers exactly what you might expect from such a compilation – slightly forgettable moments in music that although entertaining hold very little staying power in today’s modern electronic music scene. Highlighted by an array of guest vocalists throughout the band’s history, the innocuous tonality of the album only manages to give us an admirable example of Zero 7’s style, mainly focusing on a great many tracks from their 2001 success. Fans of the band and those who remember and still feel the comfort of such easy-going electronica will undoubtedly be entertained with this collection. This compilation gives a nicely encapsulated refresher course on the short-lived low-key electronic landscape. Zero 7’s Record is still a welcome addition that will fill the gaps of any music library. The deluxe version contains a bonus disc of remixes both old, creating a ‘best of’ collection that is at least extensive if not very diverse or memorable. Don’t feel bad if you only take this album out every once in a blue moon, and just enjoy it for the times that you do. http://www.zero7.co.uk — Stephen Lussier
Royal Canoe (a side-project from Matt Peters of Waking Eyes) has finally released their debut album Co-Op Mode. The album has been a work-in-progress that spans back to 2006, and has definitely been worth Peters’ time. Never pigeonholed into one specific style of music, Royal Canoe succeed in previewing the talents of the band through an assortment of musical genres, levels of upbeat and downplayed tempo, and an overall feel that never seems jumbled enough to disrupt the flow of the album. “Saw an Arrow” gently introduces you to the band with wonderfully produced studio structure and skillfully managed harmonizing. The creative quality of both the studio music plus the integration of clever and catchy lyrics drive the first half of Co-Op Mode in a comfortable and entertaining manner. By the time “Me Loving Your Money” comes about the tone changes and the expressive quality of a more ‘upbeat-versus-rich-soul’ charm takes over. The addition of a bold falsetto vocal element transforms the overall tone into something quite innovative with a mash-up of genres within the confines of a single track. The somber, acoustically-driven “Fabulous Mess” holds sincerity both lyrically as well as instrumentally through the soulful timber of Peters’ voice, elevating itself to heightened levels of intensity. Experimental qualities that Royal Canoe play with on their debut are commendable as well as surprisingly successful. Showing everyone what they are capable of making as a band seems to be the primary goal that Peters et al are trying to convey with Co-Op Mode. Their self-exploration of sound and style both creatively and technically manage to entertain effortlessly. “The Last Ones Were Delicious” beautifully ends the album on a bittersweet note, rivaling the likes of Ben Gibbard in the vocal department, easing the album down to the ground from where it all began. An excellent offering as a debut album, Co-Op Mode will easily provide Royal Canoe with an immediate fan base with a diverse spectrum of listeners. http://www.royalcanoe.com — Stephen Lussier
Language Room’s self-titled album isn’t missing much; toying with tension and groove, soft melodies and rocking riffs, Language Room doesn’t seem to have room for much else. Some parts of their songs can be predicted, but overall, the band’s musicianship is to be admired. This new band sounds very in touch with the roots of rock ‘n’ roll, as you can hear in bluesy tunes like “Run Out of the Road,” yet they are still presenting something a little alternative, in a Radiohead and Muse kind of way. “Keep Your Goodbyes” and “Frantic” will keep your attention on the subtly complex drum lines while the guitar and bass play with space to create an interesting dynamic – that is, before they all come together for heavy choruses. The song recipes work similarly in both these back-to-back songs, but they are still, nevertheless, delicious compositions. If only they separated the tracks a little more on the album so the audience wouldn’t notice their obvious song structure choices. This new band sounds very in touch with the roots of rock ‘n’ roll, as you can hear in bluesy tunes like “Run Out of the Road,” yet they are still presenting something a little alternative, in a Radiohead and Muse kind of way. -Robert Vandrish
The band who used to record on Mac’s “Garageband” program, without truly knowing what they were doing, are back with King of the Beach. The poor quality sound resulting in Wavves’ recordings is integral to their music – and to their popularity. Given their success, you might explore the idea that they would record higher quality tunes on this album – and they did – but King of the Beach is a promise to not stray too far from their noisy roots. Note: Noise-pop elitists may not like this album. While listening to this record it helps to visualize the beach (the band actually utilizes clapping in “Baseball Cards” to sound like waves splashing the shore). The bright, upbeat tunes, with catchy “Oos” incite feel-good emotions. This emotion is, however, complemented with ambient – sometimes droning – additions from the vocal department, creating an overall eerie effect at times. These two seemingly contrasting ideas add more distance to Wavves’ pop song structure and the overall result. The lack of high production value also grants the band an escape from simply being labelled “pop”. Indeed, without the distortion and grainy fuzz all over their instruments, this band would be pop (with just a side of attitude). But as I noted, the enhanced recording quality on King of the Beach could lose Wavves some elitist noise-pop fans, though their slightly clearer sound will likely gain many more fans than it would ever lose. - Robert Vandrish
Rae Spoon is an incredible songsmith with a knack for writing catchy tunes that stick with you after the first listen. What's great about Spoon's music is that it goes from extreme lo-fi production to crisp radio ready singles, making for an interesting listen from front to back. For fans of the Shins, Tegan and Sarah, Elliott Smith, Kraftwerk and dance music, this is the stuff to get into.
-Bethany Hanraj
Turning on Are You My Mother? offers an immediate warm greeting to The New Pornographers’ Kathryn Calder and her first solo album. “Slip Away,” the opening track, is a little mellow with subtly intricate rhythms. Just as you might finish passing judgement that this album is going to be one of those slow, rainy day records, in comes a heavy segment showcasing catchy “ohs” under a complex guitar riff and rocking drums. The next pick-me-up song starts off promising, but the contrast between the upbeat instruments and Calder’s soft, voice is irreconcilable. This is a recurring conflict throughout the rest of the album. Are You My Mother? displays Calder’s beautiful mastery of melody and voice – but also her difficulty in progressing from soft to hard. On the occasional upbeat song (like “A Day Lost its Prime”), her voice doesn’t reach its full potential. The instruments encourage a more dramatic performance where Calder should match the stress on the guitar chords with her vocal chords – but the singer comes up short. The instruments themselves are consistently intriguing; piano, guitar, drums (and even found objects) toy with space and rhythm, often keeping things simple, yet always interesting. Finally, “All It Is” is where it all is at, a musical backdrop more suited for Calder’s vocal dynamics. It sounds a bit Feist-y at times, but it is no mimic. Though the song tries to end with a mood too heavy for the singer, this closing track ultimately justifies making the journey through the album. http://www.myspace.com/kathryncalder - Robert Vandrish
Sun Wizard’s self-titled debut is a great display of what the band is about. Each song makes you think of summertime – whether an upbeat cruising tune like “You Had the Answer” or an end of season ballad like “Maybe They Were Right”. Each of Sun Wizard’s songs either conveys the tribulations or the revels of youth. Aimlessness, heartache, aspirations of something more – it’s not only in the lyrics, you can hear it in the melodies and the emotional chord progressions as well. In just five songs, Sun Wizard achieves the kind of solid concept that most artists spend a dozen songs trying to convey. If this is what their full-length album will consist of, I’m already on board. -Bethany Hansraj
Peggy Sue’s Fossils and Other Phantoms has earned the UK-based trio the distinction of being a punk-folk outfit. But, the album is more eclectic than that – featuring traces of soul, folk and blues. The harmonies on each of the songs on Fossils and Other Phantoms are staggeringly beautiful. Songs like “Long Division Blues” and “The Remainder” force you to take a second, third and fourth listen just to catch all of the intricacies of the vocal web woven Katy Young and Rose Slade. -Bethany Hansraj
You like the sampling from Paul’s Boutique? Crank that to 11 and revolve entire songs around obscure samples and you’ll start to understand what The Books are up to. The Way Out is the band’s 4th studio album and first since 2005’s Lost and Safe. This time around The Books have created a linguist’s wet dream in the form of a pseudo rock album. Evolving out of snippets of found speech and rooted in rock with a love of electronic music The Way Out sounds like Aphex Twin and Kid Koala teamed up to create their best shot at a mashed-up Nirvana and Bowie record. Now that sounds like a bloody mouthful and too many band comparisons for one tiny album made by two dudes from New York – but that’s the whole point of collage-rock. To pack as much in to one record and somehow make it taste organic is no small feat, and for this alone The Way Out is worth a listen. It’s hard to imagine The Books having staying power over the long haul, but at the very least they’ve built an intriguing audio experience. I promise you won’t get bored – at least not on first listen – there’s just too much going on at every moment that will draw the attention of any ear. -Joe Veroni
Gayngs are the illegitimate love child of MGMT and TV on the Radio, if both of those bands were big fans of early 90’s soft r&b. This is the kind of music that you probably would have passed on with extreme prejudice ten years ago. Due to the constant rebirth of all things old, no matter how uncool those things once were, there is room for collectives like Gayngs. The album Relayted features up to 23 collaborators including Justin Vernon (Bon Iver), and features everything from cheesy guitar riffs to cheesy saxophone riffs to cheesy lyrics. It works though. You would probably be embarrassed to drive down the street blasting Gayngs from your speakers, so you’ll find yourself turning it down or closing the windows while idling at intersections. Still though, these sappy electronic songs will hold your interest if you submit to it without worrying about how schmaltzy it is. The critic in you will want to turn it off, but somehow Relayted manages to stay in rotation long after first exposure. -Daniel Demois
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Jenny and Johnny 
Les Savy Fav
Suicidal Romance
Noblesse Oblige
Bishop Morocco
School of Seven Bells
Secondhand Serenade 
Dave Earnhardt Jr.Jr.
Zero 7 
Royal Canoe
Language Room
Rae Spoon
The Gerry Alvarez Odyssey
Sun Wizard
Peggy Sue
The Books 