Yann Tiersen
Les Retrouvailles (Virgin/EMI)
If you dug Tiersen's Franco-romantic, retro-fantastique music for the Jean-Pierre Jeunet film Amélie, assembled from several of his earlier albums, his latest will have you sold. It's a varied grab-bag - while "La Veillée" and "Les Enfants" could be straight off that soundtrack, the excellent "La Boulange" brings a bolder bump (and otherworldly, theremin-like Ondes Martenot) to Tiersen's fail-safe formula of cyclical, aching strings and keys. Then there are the gentle solo piano or violin pieces, and conversely the expansive orchestral works. The biggest shift is the inclusion of a number of vocal tracks. Not Tiersen's vocals, mind you, but rather those of Elizabeth Fraser (Cocteau Twins), Stuart A. Staples (Tindersticks), Jane Birkin and others. Like any one of Tiersen's tunes, the album flows with rich, inexorable grace. 9/10 (Rupert Bottenberg)

Billy Corgan
The Future Embrace (Martha's Music/Warner)
With the obligatory temporary exile of drummer Jimmy Chamberlin from the Smashing Pumpkins for inappropriate behaviour, a drum machine worked wonders on the Smashing Pumpkins' "Eve" on the Lost Highway soundtrack. But on Corgan's solo debut (after the demise of Zwan), those preset sounds are tired, instantly dating an otherwise interesting album. Tracks like "Sorrows (In Blue)," the suitably Cure-esque "To Love Somebody" with Robert Smith, and "Walking Shade" are proof that Corgan's still got it. Chamberlin blesses "Dia" but is sorely missed on the rest of the album. Another problem is the production. Corgan's voice is buried in guitar masturbation, which makes for an atmospheric album, but leaves you straining to hear what he has to say. 7/10 (Lateef Martin)

Cobra Noir
Abode of the Dead (Cyclop Media)
Along with the Fallout Project, Cobra Noir up the ante of heavy music coming out of Montreal right now, mixing up an over-the-top, mid-tempo Turbonegro/Entombed rock edge with blistering hardcore vocals, pulverizing at every turn. It's when they step up the tempo, like on "Road to Ruins" and "White Eyes," that they really burn with white heat. Extra kudos to Radwan Moumneh (Cursed, Jerusalem In My Heart), who does an excellent job in the producer chair and lets nothing ride in the back of this crisp mix. 8.5/10 (Johnson Cummins)

Jason Collett
Idols of Exile (Arts & Crafts)
Produced by Howie Beck and featuring nine (nine!) of his Broken Social Scene buddies, Jason Collett's sophomore album is heavy on star-power, if nothing else. His tinny guitar solos, dirge tempos and nasal cooing recall the trad twang of Tom Petty or Paul Westerberg more than his other band, complete with time-tested melodies. The Broken Social footprint is deepest on the careening pop song "I'll Bring the Sun," while tunes like "Feral Republic" are brought to life with novel arrangements. However, the sum isn't as strong as its parts, and Collett isn't the revelation Toronto makes him out to be. 6.5/10 (Lorraine Carpenter)

Eric Johnson
Bloom (Favored Nations/Fusion III)
Steve Vai's guitar-centric Favored Nations releases are usually nothing more than wank-fests, but thankfully Eric Johnson is able to put a muzzle on the flurry of notes and display some taste. Mr. Johnson can shred along as much as his label boss (check "12 to 12 Vibe"), but on Bloom he thankfully concentrates on his compositional skill as much as he does on his six-string prowess. Famous for his tone, Johnson does not disappoint with his vintage sound, and through Hendrix string bends, Jeff Beck dalliances with fusion and Larry Carlton arpeggios, he really impresses here. True, his vocals are as weak as wet Kleenex, but why would you buy an Eric Johnson record for the vocals? 6.5/10 (Johnson Cummins)

The Book of Lists
Red Arrows (Global Symphonic)
Without relying on obvious influences and overused hooks, this new Vancouver quartet reveal shades of Ride, Syd Barrett and the Wedding Present on this fine six-track EP. Book of Lists doesn't adhere to the post-punk shadowplay of singer/guitarist Chris Frey's other band, Radio Berlin - the dank shoegazing squall of "Through Stained Glass" and the Sisters of Mercy register he dips into on "Sweet Malady" are as close as they come to the dark side. A thin blanket of fuzz and reverb wraps their propulsive guitars and semi-sweet melodies in warmth, while Frey's savvy poetry weaves itself into the unpredictable pattern. 8.5/10 (Lorraine Carpenter)

Annie
Anniemal (679/Warner)
Fluffy, feminine, digital dance-pop - the Cyndis, Kylies, Lady Madonna herself - often gets the backhanded compliment of the "guilty pleasure" tag. In a manner quite subtle for the genre, the 25-year-old Norwegian Anne Berge-Strand strives to drain off the guilt factor, the way St. Etienne once did before they got a little too boutique (her light-headed chirp even resembles Sarah Cracknell's a bit). With the exquisite production aid of Richard X and Röyksopp, Annie cherry-picks fragments from 30 years of dance-pop, injecting some contemporary bounce and bite while coming across - and this is key - as unashamed and genuine. While she has yet to nail one of those unshakable melodic hooks that are a guilty pleasure's truest hallmark, she does make cheese sound like it isn't just that. 7/10 (Rupert Bottenberg)

Caro
The Return of Caro (Orac)
Randy Jones has a strange affinity for Montreal. Early last year, under his Caro guise, the Seattle producer and label head put out the highly overlooked but excellent minimal 12-inch "Super Danse Contact," fondly named after everyone's favourite Ste-Catherine peeler-bar marquee. Montreal will doubtless soon be showing some love back, given Caro's latest album. With its mix of jacking Chicago house bounce and German minimal tech funk, it's hard not to really get into this album on first listen. House heads who look, teary-eyed, back to the soulful days of Jamie Principle will love "Can't Tell Why," while fans of Ricardo Villalobos's darker vocal tracks will simply melt for "My Little Pony." A fresh mix of classic and futuristic. 8.5/10 (Raf Katigbak)

Karma Atchykah
Presents the Burbs (Fekdafonik/DITA)
Representing all hungry MCs that reside in the outskirts is Karma, the raspy-voiced wisecracker with fresh verses for the local set. This Montreal MC has assembled a rag-tag bunch of rappers and producers to signal yet another wave of local hip hop talent that has only begun to develop. Calling on new blood like Lotus, Mr. Goodvibes and Sikh Knowledge for mic support, and featuring a fully stocked variety of beats, Karma and the suburban contingent are anything but a predictable hip hop subdivision. Checking for hometown voices worth listening too? This is a good place to start. 7/10 (Scott C)

OK Cobra
self-titled (independent)
Somebody's bound to stick this record in the "emo-rap" pile because it has melodies and guitars in the mix, when it's really a peek into the minds of two guys who've heard enough of the same and decided to offer another look at how this shit is done. Fritz Tha Cat is showing his heart again, with rhymes he wrote at the bar, complete with the wry clarity that alcohol can sometimes bring. Producer RecordFace reveals a wandering ear that isn't afraid to break from the norm. Check out "Bury the Bodies" or "Juggernauts" and see what some beer and a couple of true heads can get up to. Buy the LP at www.okcobra.ca. 7.5/10 (Scott C)

Massari
self-titled (Capital Prophet/Universal)
On his sophomore release, Lebanon-born, Ottawa-based Canadian urban singer Massari lets his multicultural roots shine through. Sure, he's all about the good groove, whether it's shuffling slow jams like "Real Love" and "Show Me," or more up-tempo cuts like "Rush the Floor" and lead single "Smile For Me" with former Bad Boy rapper Loon. But what really sets him apart are the liberal servings of Arabic musical influences that he sprinkles throughout this release. Middle Eastern rhythms spice tracks like "Inta Hayati" and current single "Be Easy," making for a set that will get you moving to a slightly different beat on the dance floor. 7/10 (Gerard Dee)

Annie Sellick
A Little Piece of Heaven (Chalice)
This wonderful little singer works mainly in the Nashville area, but has appeared here at Upstairs on a number of occasions. On this her third CD, she puts her personal twist on material by people like Fats Waller, Johnny Mercer, Harold Arlen, Jimmy Rowles, Lionel Bart and Hoagy Carmichael. On eight of the dozen tracks, guitarist Bruce Forman is definitely an asset. 9/10 (Len Dobbin) On the FIJM's Bell-Samsung Stage, Wed., July 6, 8 p.m. and 10 p.m., free

Viktoria Tolstoy
My Swedish Heart (ACT/Fusion III)
Laid back and quite beautiful, this follow-up to her Shining On You is her salute to all the musicians who led to there being such a thing as ‘Swedish jazz." She honours them in her notes and in the repertoire here that includes music written by Lars Gullin and arrangements of traditional Swedish songs by the likes of Bengt-Arne Wallin and Ulf Wakenius. There are also dedications to Jan Johansson, Gullin, Wallin and the recently deceased Monica Zetterlund, and don't miss the trombone playing of Nils Landgren. 9/10 (Len Dobbin) At Club Soda, Fri., July 1, 7 p.m., $24.50

Mini CD Reviews

Dave Holland Overtime (Dare2/Universal) A self-produced CD that features wonderful music, musicianship and a sound to be envied by other producers. 10 (LD) At Place des Arts, Fri., July 1, 6 p.m., $29.50-$49.50

Collizhun "Burn Down Toronto" (Tough Dumplin') Ackee and banana in hand, former Nefarius beatmaker/MC serves up a serious tongue-lashing to his hometown - where he still lives! 9 (SC)

Snailhouse The Silence Show (Scratch) Montreal's Mike Feuerstack (Wooden Stars, Kepler) brings his soulful folk to a pristine crawl. 7.5 (LC) With Julie Doiron at la Sala Rossa on Mon., June 27, 9 p.m., $10

Frank Martiniq Little Fluffy Crowds (Boxer) The title may be a riff on the Orb single, but the music is no joke - 11 tracks of bouncy Cologne techno (with the required shuffle track, of course), precise yet trippy. 7.5 (RK)

Michelle Shocked Don't Ask Don't Tell, Mexican Standoff, Got No Strings (Mighty Sound/RED Sony) Unclear on the concept of editing, Shocked only releases trilogies these days - this lot finds her flirting with "rock," Tex-Mex and Disney songs gone Western swing. 6.5, 6, 5 (LC)

Funeral For a Friend Hours (Atlantic/Warner) Growth is one thing, but FFAF completely disregard their roots and are left just aimlessly stumbling about on this. 5 (JC)

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