Aerogramme
Seclusion (Sonic Unyon, www.sonicunyon.com)
A really great addition to the Aerogramme oeuvre, Seclusion is a brooding and intense album- the '˜quiet is the new loud' maxim being a good choice for these four hairy men (as they affectionately call themselves) from Scotland. Craig B's earnest renderings on love and craving are eloquent and tender, and remind me a little of Grandaddy. Fans of popular labelmates The Delgados would also appreciate this recording - beautiful and dreamy soundscape-type tracks that are intense without being loud. On this album as well are also two videos that illustrate the band's ease in writing instrumental pieces. A gem. - Kristine K
File next to: A diamond from the highlands

Catfish Haven
Please come back (Secretly Canadian, www.secretlycanadian.com)
Chicago's Catfish Haven are one of Secretly Canadian's newest signees. This trio's first release is a mix of soulful and bluesy/woosy rock n'roll along with some slower acoustic ballads. Their fervour and rawness have made them quite popular with those who appreciate The Strokes and White Stripes. Ones to watch. - Kristine K
File next to: Plug and play

Catherine Duc
Visions and Dreams (Independent, catherineduc.com)
When it comes to ambient, world beat music, even the most open minded music listeners are tempted to prejudge the final product, claiming that it is nothing more than background music or a soundtrack for Japanese farming video games. At first, I was one of these people. But after giving "Visions and Dreams" a serious listen, I think I finally understand the appeal. Each track is a carefully crafted atmosphere composed of a unique and articulate language which tells a story full of images and emotion. However, that is less a testament to the genre and more to Catherine Duc herself, who is a master at composing and performing. Writing and performing "Visions and Dreams," the music is vivid and imaginative, especially to the urban music fan. It's the kind of sound that if you are vulnerable enough, is worth escaping into and imagining yourself somewhere completely different. '“ Tyrone Warner
File next to: Peter Gabriel records

Chris Yang
Devil in the Clock (Burnt Oak, www.burntoak.ca)
Oh man, the packaging for this CD is GORGEOUS. It's got this sweet red ribbed paper stock that's screenprinted with silver and black. I think the image is a honeycomb and bees and something else, but I'm not really sure. All the edges are sewn together, leaving dangling little bits of thread. Seriously, this is the most gorgeous packaging I've seen since the Republic of Safety Passport EP. Too bad the music is kinda boring. It's lo-fi singer songwriter pop and most songs are interesting for the first 20 seconds, but then Yang repeats the same idea for another minute or two. And with 18 songs, you get bored of the whole thing pretty quick. Pass this up, but check back in on this guy in a year or two. '“ Ryan McLaren
File next to: What if the cover is better than the book?

The Drift
Noumena (Independent, www.thedriftmusic.com)
At a recent rock show, I was surprised by the inclusion of a free jazz performance. I watched a forty-minute set with no breaks or song structure, and had no idea of whether what I was witnessing was great or terrible. Halfway through my roommate leaned over, muttered "you're all amazing musicians, we fucking get it," and then left. Which is why people always seem to have their hate on for jazz. Give me Billie or Dizzie in a snap, but maybe I've just been listening to Blues Lite, oldies that place mood and brooding lyrics over showiness and chaos. Similar confusion clouded my reaction to a new EP by San Fransisco's The Drift. The name and album art cried indie rock, but revealed itself to be a set of spacey atmos-jazz, a couple of tracks breaching the fifteen-minute mark. The instruments are well played and the tunes are in a variety of keys and whatnot, but where are the parts I can sing along to? It is less wanky than most, and I did enjoy having it on in the background while I looked for my keys. Thankfully, I now have something to play at my next dinner party. - Sebastian Von Claptrap
File next to: Bitches Brew, my extensive collection of board games

Jens Lekman
'œOh You're So Silent Jens" (Secretly Canadian, www.secretlycanadian.com)
Thankfully, the swagger of Joel Gibb has not rubbed off on Jens Lekman. His cred with the twee crowd remains intact with this gentle collection of mostly ukele-based songs, accompanied by some of the most delightful crowd yelps, piano twinklings, samples and soft-spoken pant-moisteners on the scene. The disc warms the heart as it conjures visions of our Euro indie doppelgangers setting the night alight atop Hammer Hill with their own unique mythology, Lekman's Morrissey-meets-Murdoch inflected warblings leading the charge. The album fluctuates, "Black Cab" reigning and too-often wonky lyrics about heartbreak and sadness lagging behind. But the energy and comraderie of his Camera brethren is there in spirit, an assortment of Swedes helping the quieter songs hitch themselves to the gossamer of the more full-bodied tunes. It is with restraint and delicacy that Lekman posits himself as a most worthy musical Agony Aunt. He recounts his mischievous fables of romance with a quiet roar, one that lingers and hints at a more fulfilling relationship to come. - Sebastian Von Claptrap
File next to: doing it on a Sunday afternoon; a nice long walk when it's sunny and cold

Raising the Fawn
The Maginot Line (Sonic Union, www.sonicunyon.com)
Trying to define a band like Raising the Fawn is a pretty difficult procedure. This is mainly because the trio of John Crossingham, Scott Remila and Dylan Green are all such great musicians who not only cram interesting parts and layers into each song, but have the talent keep things fresh and creative in The Maginot Line. Raising the Fawn is like the loudest parts of Sigur Ros mixed in with the disturbing moodiness of Low, topped off with the blatantly catchy radio-friendly tunes of alterna-rockers Better than Ezra. Seeing as how Crossingham moonlights for Broken Social Scene with their twice-removed Gin Blossom jams, I figure it's not much of a stretch. Together the band combines gentle melody with fantastic bombast that is at times joyous and at others, brooding. '“ Tyrone Warner
File next to: Luna and late-period Low.

Rick Temparao and the New Low
Down in Front (Independent)
Imagine if a man was transported forward in time from 1982 to 2006. He'd been preparing and saving up for the trip for months and then he appears in a cloud of smoke with teased hair and wearing a studded jean jacket. He comes out and says, "Let's see the flying cars!" And 'œHave we been to Mars yet?'? Eventually he's horrified at the sameness of it all. You'd say "Look, the Internet!" Or "See? We've cloned dogs and pigs!" But all in all, the world hasn't really changed in a 'you-can-see-it' sort of way. He'd go and try and find all of his old friends and they'd have like, you know, jobs ad stuff. And he'd be all like, "I wanna rock!" Rick Temparao and the New Low are a lot like this. In the end all you could do is give him a 'No Dynamics' album and set him loose, hoping he returns a little wiser and with better taste. '“ Meter Po
File next to: Time travel