WHY / WHY NOT: On his debut EP, Jonny Forbin delivers straight forward, easy-listening folk music. It’s not very complex or unique; but it’s also very unpretentious and honest.

The EP begins with "Funky A," and, fittingly, it’s very funky, upbeat and playful. The arrangement includes an interesting bridge, and a good saxophone solo to close it out. "OCD", meanwhile, is much more reflective and sombre. But despite some interesting lyrical content and sampling, it sounds like adult contemporary or soft rock.

The EP recovers with "Lady Love," an introspective love ballad that has a great hook: a very melodic chorus with a hint of country. Toss in a unique bridge to boot and this is the strongest song on the release. And then, to top it all off, the final track, "Mr. Bigshot (The Espresso Song)," features a great slide and lead guitar arrangement.

WHY / WHY NOT: Montreal's Plajia have all the right ingredients to be a successful band: solid musicianship, excellent songwriting, superior musical arrangements, with great production and catchy hooks to boot. There are heavy shades of Radiohead and The Beatles throughout Beautiful Explosion, and Plajia make use of well-placed ambience and keyboards which immediately evoke a compelling dreamscape.

The opening track, "Dummy," features a great piano chord sequence bolstered by impressive lead guitar fills and establishes Plajia’s excellent sound. The hooks and unique arrangements keep coming with the subliminal imagery of "God's Waiting In Line" and the zany title track, to go along with plenty of ballads, such as "Sleeping", "Crazy Lonely Happiness", "Beating The Charms" and "A Love Song For Everyone". The album comes to a perfect close with the monstrous "The Other Life of Squared Pixels". With one very good album under their belts, Plajia's future looks very promising.

WHY / WHY NOT: Seether's third studio album may not sound exactly like their previous work, but in their attempt to do something "a little different" they end up sounding like every other rock band on Top 40 radio. Lead singer Shaun Morgan's rough vocals and typically heavy guitar, among other qualities, put them in the same category as Nickelback and Theory of a Deadman.

Finding Beauty in Negative Spaces is definitely more pop-influenced than Seether's older music. "Fake It" is a catchy, happy-sounding tune and "Rise Above This" would be an instant hit if it were a Kelly Clarkson song. The band does manage to retain their angry persona, however, by swearing and talking about guns (take the song "Fmlyhm" a.k.a. "Fuck Me Like You Hate Me," for example).

WHY / WHY NOT: Proof of Youth sounds like it was recorded on a primitive tape recorder on a dingy East London street corner. The title coincides with the message this album puts across: wild rebellion. It contains both energetic and moody tracks, with the slower ballads effectively breaking up the album. But while the songs are fantastic, the album does play like a carbon copy of the Go! Team's first album: Thunder, Lightning, Strike. That said, a track like "Flashlight Fight", with its fierce male vocals, is their most edgy yet. (This track should have been last; it would have acted as the perfect cliffhanger.)

This album would also make an excellent soundtrack to a 17-year-old's life. I recommend blasting it in a parentless house at 3:30pm. Bust out the tattered sweats, run up a flight of stairs 20 times, shout jump and dance as you simultaneously heat up pizza pops and TV dinners. Although Proof of Youth screams rebellion, its energy is inspirational. Cheerleading troops, fitness instructors and dance teachers should pick this bad boy up.

WHY / WHY NOT: Planet Earth commences with the title track: minor piano chords draw me in, but daunting lyrics ("Imagine you could rid the earth of anyone you choose") disturb me, and my hand fumbles with the remote to skip away the pain. Still, some of the songs are very upbeat and playful, and his guitar playing is staggering, ridden with memorable bass lines. In fact, all of Planet Earth touts Prince's excellent musicianship; yet, polished playing does not compensate for mediocre songwriting.

WHY / WHY NOT: Remember how awesome the '90s were? Well, if not, this will remind you. I don't think Dragonette has done it on purpose, but they've created an album that reminds of songs heard circa 1993 while still sounding current. Dancers, you're in for a treat, though "I Get Around" is probably already in heavy rotation on your iPod as well as Dragonette's other glam ditties. It seems living in England has helped the band adopt the sound that is more popular there and bring it across the pond to sound completely different from the majority of other Canadian bands. Singer Martina Sorbara is an Emily Haines/Gwen Stefani type who is on the brink of dream-girl symbol status, as her sexuality explodes in your ears like a, well, let's not go there. Dragonette can blow Canada away, that is, if Canada is willing to stop swaying and start dancing.

WHY / WHY NOT: This is PiP's first full-length release since signing with Wind-Up Records (home to Creed, Alterbridge and Evanescence). But don't let that scare you off – the 5-piece from Wales is determined to stand out among their label-mates. The CD boasts turbulent riffs and great build-ups, as well as some unexpected breakdowns and shifts in direction. From the super-powerful guitar riff in "Barracuda," to the emotional vocals in "Falling by the Wayside," to the lilting melodic tangents of "Narcoleptic," it's clear the band is into experimentation as well as making music fit for the soundtrack of a primetime drama. Despite comparisons to Muse and Radiohead, PiP cites Supergrass as their greatest influence. They were thrilled to record with Sam Williams, who produced Supergrass' I Should Coco. For a debut, this album has some really interesting elements and is definitely worth checking out.

WHY / WHY NOT: Rising from the ashes of his former band, Strike the Set, Tyrone Warner has relocated to Toronto in order to showcase his new sound. What he gives us is harmless guitar-based indie rock, which personifies life in Toronto and life in general. Although he is probably the guy you see playing in small bars as you wait for your friend's band to come on, Warner is certainly heading in the right direction. You can tell he has taken time on the lyrics to paint a vivid picture and his vocals are soft and comforting.
This album may be lacking a certain "wow" factor, but it's a great start and Warner has plenty of time to deliver more.

WHY / WHY NOT: Just when you thought it was safe to assume the gloomylicious era was as dead as Ian Curtis, here comes Guelph's own Slowking. I, like many, assumed this kind of sound was out of everyone's system now that it has been perfected by Interpol and The Editors, but I guess there's room for a Canadian band as well.

The Joy Division-y songs are interesting enough to be paid attention to, but unfortunately, because each song sounds so similar, it's tough to choose a standout track. A few more songs like "Cargo" and "Afterschool" would have satisfied me more, but I still recommend giving these guys a chance. For some reason I have a feeling they'd be better live than on record. In any case, I sincerely hope they lighten up a little bit for album two.

WHY / WHY NOT: Now, who would have thought there would ever be a record like this one? First we have the legendary frontman of Led Zeppelin, and second we have bluegrass's first lady; a combination that redefines polar opposites. However, to my utter shock, this album works without question.

Covering some rootsy classics, Plant and Krauss further their musical legacies by proving they still have a lot to offer in 2007. Like a Meg Ryan/Tom Hanks film, the best moments are when they are harmonizing together. This is most evident in such tracks as "Rich Woman," "Stick with Me Baby" and the Everly Brothers' classic "Gone, Gone, Gone." When they are apart, the result is often skipable and/or unfulfilling.

In any case, this album is a magically surreal experience that will have you wanting to share it with everyone you know.

WHY / WHY NOT: Coming off a successful stint with their debut, Yellow House, Grizzly Bear is back with an EP containing new songs, alternate versions and covers. That doesn't mean they cover songs, it means bands cover their songs. I don't know if this has ever been done before, but it's something that cracked a smile on my face and made me hope more bands start doing this – sorry, but I really enjoy cover songs.

What this EP succeeds in is giving fans a tasty little treat while they wait for album number three. I feel the covers overshadow the Grizzly Bear tracks, however, because they are just so enjoyable. "Knife" being covered by Brazil's dance-rock sextet CSS is the highlight, as it's given that smarmy CSS spin that's so delightful. Indie favourites Band Of Horses show up as well, giving this EP a little something for everyone.

If you are craving more Grizzly Bear, then I suggest returning to Yellow House, but if you want to have a good day then pick up the Friend EP.

WHY / WHY NOT: Looks can be deceiving with The Young Punx album, Your Music Is Killing Me. Hailing from the UK, these blokes are not punk, nor are they the angst-ridden Insane Clown Posse-esque dudes their scary cover art suggests. Instead, this album takes you on a musical journey through all the realms electronica has to offer, sans the hit of ecstasy.

The disc gets off to a slow and steady start on the opening track “You’ve Got To . . . ” with the help of someone named Norman Cook (or Fatboy Slim, as some of you may know him). But the album doesn’t truly take off until the Michael Jackson-ish “It Doesn’t Stop”, which makes you want to leap up and dance. I feel as if this type of electronic movement has already come and gone in North America, but this 18-track offering is solid. Maybe these Young Punx are the ones to bring it back.

WHY / WHY NOT: This is the remix done right. With fans of the electro movement always clamouring for the next huge mash-up or remix, Boys Noize take the right approach with the short, sweet and simple Oi Oi Oi Remixed.

To provide the dirtiest, heaviest and hardest beats in their collection, Boys Noize recruited some of the most notable producers in the electro community, including Feadz of Ed Banger Records fame to lend a hand on "Lava Lava (Feadz Aval Aval Mix)" and Para One of Institubes working it out on "My Head".  The beats are grimey and hard enough to make you loose your shit on the dance floor. 

"Don’t Believe The Hype" if you don’t want to — pick up the album for yourself.  This is the perfect sampling for those wanting to learn more about the whole electro clash movement.

WHY / WHY NOT: You have got to be kidding me. Listen lady, I’ve never heard of you and I’ve heard bunches and bunches of girls who are trying to do what you’re trying to do. And yet you’ve gone and created this super-fabulous, outta-the-blue-pretty lil’ record behind my back? Well, well, well. Fine, I’m impressed, I really am. You’ve got me. The Wedding Singer & The Undertaker is genuinely good stuff. Heck, you’ve made a believer out of me. When we’re in a phase of, like, girlie-goodness saturation, I’m down with having yet another hit of it. "Sad Story Forever" is symphonically silly, symphonically sweet. While your voice could use a bit of training, it’s quite lovely and proven by "Nothing’s Changed" and "Map Unfolded." You are grace, darling, with "A Grief As This" and elegance with "The Declaration of Spring." The way I see it, it’s a mere matter of time before you’re opening up for Justin Rutledge — that, or breaking Jason Collett’s heart. Keep it up, sweetheart. I want to hear more from you.

WHY / WHY NOT: Elf Power! I forgot about you since last summer, when all I wanted was you! And here I am, falling in love all over again, this time with In a Cave.

Okay, so here we go: the Power is moving into friendly electric land, with a playful, slightly bashful selection of pop-prowess goodness that seriously satisfies. "Spiral Stairs," with its unpretentious, genuinely charming gait, spills open, cascading in a sensible-yet-eager way. The energy keeps coming, with a twang-twang playfulness in "Paralyzed." Am I crazy, or am I hearing M Ward here?

Plus, you get the jaunty "New Lord," which I just love. Another treat is the lullaby "Devil’s Daughter." It’s an anthem to love untouched by reality. Oh! Oh! And "Softly Through the Void." Oh me, oh my, could this album get any cuter or catchier? I don’t think so.

WHY / WHY NOT: What does a French band do when they want to be heard by both French and English music lovers? Why, make the album half and half of course! Montreal’s Duchess Says does precisely this with their first full-length LP, Anthologie des 3 Perchoirs. Now, I don’t know enough French to understand what vocalist Annie-C Deschenes is singing about, but her sultry, sexy voice makes it nice to listen to nonetheless. "I’ve Got the Flu" gives a teasing of her voice, leaving you begging for more. The band behind her electrifies with ’80s beats and keyboard styling in songs like "Black Flag" and "Tenen No Neu." Other songs kill the ’80s and go straight for punk-rock, like "Rabies". Deschenes’ voice has a dreamy quality to it, making even the loud, high-pitched parts of the instrumentals pleasing to the ear. The intensity of the band matches her vocals, making me wonder just how hardcore these guys would be live. This album requires a moshpit.

WHY / WHY NOT: On their EP, "of which I’m the master," The Northwest Division present a raw and rough brand of country-influenced folk rock. It’s always admirable for bands to aspire to the great songwriting and legacy of Neil Young, but while Charlottetown’s Northwest Passage are one of many in this regard, the results of their musical endeavours aren’t very impressive. Their song structure is very simple, which in other instances can work, but combined with very bland and average songwriting and lyrical content, an average rhythm section and little imagination, there isn’t a whole lot to be desired. Lead singer Peter Forbes doesn’t have much of a vocal range, and this is very apparent on "Lonely Love." However, the saving grace of this EP is the guitar interplay of Forbes and Mike Daley. "Morning Dove," "Sackville Duck Pond" and "Lonely Love" all have their moments of great rhythm playing and lead fills, catchy riffs and excellent mixing which shine through the mediocrity and demonstrate the promise of The Northwest Division.