Raphael Saadiq – The Way I See It (Sony BMG)

Never have the words “instant classic” resonated so appropriately than with Raphael Saadiq’s self-produced third solo album, The Way I See It. The disc evokes the R&B and soul sounds that made Motown famous, and is sure to delight soul fans young and old. From the first beat of “Sure Hope You Mean It” (echoing early Smokey Robinson), the tracks ooze authenticity, without crossing into crude imitation.

“Sometimes” crosses subtle contemporary inflections with a modern, digitally-laced soundscape. Apart from regrettable filler track “Oh Girl,” that features Jay-Z rapping over Saadiq’s vocals, the album rarely misses a beat. Saadiq’s effervescent tenor moves flawlessly across emotional territory. Forget today’s slickly produced, bass-heavy soul revival—this album’s simplicity will make you nostalgic for a time before you were born. Saadiq proves that though times may change, great music is timeless, and if that’s the way he sees it, I’m more than happy to share his point of view.

—Lisa Marie Nagapen

Rating: VVVVV

Krista Muir – Accidental Railway (Indica Records)

On her fourth album Accidental Railway, Krista Muir offers thirteen tracks that soundtrack the life of this Montreal-based singer-songwriter. Opener “When You Were Mine” is an a cappella ballad of lost love that throws us straight into Muir’s varied, colourful world. Subsequently, “Summer Eyes” and “The Ride” evoke immediate warmth, with Muir’s honest, comforting voice leading the way. French track “Les Ouaouarons,” strikes less as Quebecois pop and more as 60s chanson française, while highlight “Take Me” finds Muir repeating the same two words, over and over. (Instead of coming off as tediously repetitious, they only reinforce her frank, genuine melancholy.) The fast-paced “Drugging the Drain” and “Letters” provide a jolt of energy to an otherwise mellow, calm album. While closer “Dharma Talk” shows off Muir’s appreciation for world music, it proves rather underwhelming and would be better placed elsewhere. A record of this quality deserves a more meaningful, articulate finale.

—Daniel Portoraro

Rating: VVVV

The Gaslight Anthem – The ’59 Sound (SideOneDummy Records)

By now, every review of The Gaslight Anthem’s SideOneDummy-debut The ‘59 Sound has likened them to a punk Bruce Springsteen. As apt as it may be, The Gaslight Anthem stands alone as fine young songwriters with a gift for working class anthems for the recently convergent punk and folk scenes.

Singer Brian Fallon’s voice recalls a bygone era but doesn’t sound fossilized when blended with the propulsive nature of the band’s rhythm section. This is best demonstrated on “Old White Lincoln,” where the sugary chorus is contrasted brilliantly with Fallon’s coarse delivery. With its non-linear diary format set to somber clean picking and a folksy drumbeat, ballad “Here’s Looking at You Kid” showcases the strength of Fallon’s candid lyrical talent.

The Springsteen influence is evident, and the band is far more successful than other imitators of recent memory (fuck the Killers). The Gaslight Anthem may venerate the Boss, but they can rest assured—their imitation is the sincerest form of flattery.

—JP Kaczur

Rating: VVVV

Everest – Ghost Notes (Vapor Records)

Handpicked by Neil Young as an opening act for his North American tour, one would expect grandiose, stadium-friendly sounds from L.A. band-Everest. Yet their debut album, Ghost Notes, is a largely disappointing series of cookie-cutter songs with bland lyrics chanted incessantly by singer Russell Pollard.

Yet it would be unfair to call every track on this album a failure. It’s easy to imagine lighters flickering to highlights like “The Future,” or the jaunty and vivid “Reloader.” But other than “Standing By,” faintly reminiscent of Pollard’s boundary-pushing outfit Sebadoh, the rest of the album falls flat.

When a band boasts members in indie rock juggernauts like Sebadoh and Earlimart , the listener expects a lot more than lifeless summer camp songs.

—Daniel Portoraro

Rating: VV

Shout Out Out Out Out – In The End It’s Your Friends (Normals Welcome Records)

The words “Edmonton” and “electronica” just don’t seem right. Typically, Albertan music conjures up the image of cowboy hats and mangy Chad Kroeger ‘dos. But the first track on Shout Out Out Out Out’s new EP, “In The End It’s Your Friends,” harkens back to 1980, poised to bridge the gap between disco and electronic-infused New Wave. Shout Out Out Out Out derives great energy from this melodic tug-of-war, contrasting the transitional sound of Lipps Inc. with the contemporary experimentation of the Go! Team.

This impressive display of continuity is disrupted by the one-man disco purveyor San Serac’s remix. With work reminiscent of the Pet Shop Boys and Prince, but this pedigree doesn’t add much to his mixes. As the EP segues into San Serac’s “Friends,” one can’t help but cringe at his grade four-level lyrics. He’s lucky to have the Edmontonians as pals, willing to tack his unimaginative work onto their otherwise danceable EP. As for Shout Out Out Out Out, if only their name was easier to say, I’d be recommending them to all my friends. How many outs was that again?

—Shoshana Wasser

Rating: VVV