GORILLAZ D-Sides (Parlophone/EMI)
With D-Sides, the Gorillaz clean their closet/tickle trunk/magic chamber pot or whatever they're calling it to compile a disc each of B-sides and remixes taken from their 2005 Demon Days album. Two discs worth of leftovers yield predictably uneven results, yet Gorillaz' unique melting pot pop manages to charm in a number of spots. The gem "Stop The Dams" could easily be a lost Blur track; the fantastical dubby trip of "Hongkongaton" would have vibed perfectly on Demon Days; and the Asian string adventure of "Hong Kong" is, inexplicably, both subtle and bold. The remixes are somewhat more obvious dancefloor fare, but for purpose I'd take them over anything from Justice. Despite its status as a cast-offs record, at its highest points, D-Sides recalls an effortless medley of The Clash's Sandinista and The Orb's Ultraworld album. It's a ridiculous, irreverent and worthwhile musical hopscotch. Aaron Brophy

DAVE GUNNING House For Sale (Independent)
At times, Nova Scotian singer-songwriter Dave Gunning seems firmly rooted in the classic Canadian folk tradition of song-as-storytelling. At others, he seems to be catering directly to the mainstream country radio crowd. Though I can appreciate the former, the latter, quite frankly, makes my stomach turn. That's why House For Sale is a difficult record to get behind. There's no shortage of impressive lyricism, especially on the title track's tale of a working man's plight and the poetic plea for forgiveness on "Dust To Dust." But Gunning's oh-so-quiet country-boy vocals are about as vanilla as they come. If that's what you're into, then fine, you'll love House For Sale. Indeed, it's a formula that's worked well for Gunning over the years, landing him spots at some of the world's premiere folk festivals and earning him a Juno for his 2005 offering, Two-Bit World. But for those looking for something a bit bolder, don't bother. Matt Reeder

SAMARA LUBELSKI Parallel Suns (The Social Registry)
Psychedelic folk has been an indie underdog for a great number of years now, and yet there are still plenty of musicians who swear by its gooey, trance-inducing atmospheres. Parallel Suns, Samara Lubelski's third contribution to the understated genre, is nothing if not mesmerizing. The usual comparisons apply here (Mazzy Star et al.), but it's also worth mentioning that the record has a lot in common with the lone, self-titled album from short-lived Toronto-based duo Hawaii. Though she's covered in a number of layers of twinkling sound, it looks like there might be a pop musician hidden at the centre of this album. As a vocalist, there isn't much Lubelski could do to improve — a voice can only become so sickly sweet. Sonically, Parallel Suns starts off on shaky ground but eventually gains its footing when drums start to take over for jangly background effects. There's nothing spectacular or innovative here, but the album is by no means a terrible choice for fans of psychedelia. Scott Bryson

THE PRIMIDONNATIVES Go (Vague Moon)
First impression? Three words: What. The. Hell. But if you can get through opening track "Black No Sugar," you're rewarded with 10 more songs that, while defying the conventional, sound much more musical. It's like a mix of Frank Zappa eclecticism underscored with funky bass lines, quirky bluesy guitar riffs and surprisingly melodic vocals courtesy of Mo Digliani and Big Doctor. There are some lyrical gems such as, "I'd rather blow a panda than be manipulated, addiction goes unsated." Once you get into their sound, you'll appreciate that The Primidonnatives make music on their own terms, demonstrating the ability to craft a catchy hook and mastering a lo-fi weirdo funk groove that defies description but is definitely unique in the good way. Shannon Whibbs

SATURDAY LOOKS GOOD TO ME Fill Up The Room (K)
It's been three years since fans got their last pop fix from Fred Thomas' ever-evolving indie collective. During that time, there's been some rearrangements beyond the band's jump to K. Thomas and his band of merry makers have cast their net wider here, drawing on influences well beyond their previous '60s pop obsessions. What's more, this time around, the band seem to have finally made it into a real studio. While some diehards may claim to miss the tape-hiss quality of the band's previous output, they'll easily forgive when they hear the stunning results. Opener "Apple" is a loose and soulful ballad with surprisingly gritty vocals and a slick lead guitar hook, while "Make A Plan" is a calypso-inflected, mid-tempo gem that adoringly lifts the lead guitar line from Os Mutantes classic "Panis Et Circenses." That's not to say Thomas' more adventurous songwriting has changed the essentials. There are tons of ear-tugging harmonies, chamber-pop instrumentation and, yes, plenty of jangle. The result is a more expansive brand of pop and could just be Thomas' long-awaited ticket to the top of the indie pop heap. Matt Reeder

STREETLIGHT MANIFESTO Somewhere In The Between (Victory/KOCH)
This New Jersey ska-punk band made a big impression with their Everything Goes Numb debut in 2003 and, after some lineup changes, followed it with a re-imagining of Keasbey Nights, the debut from one of Streetlight members' predecessors, Catch 22. They're back on track with this new effort, which is full of horns, energy and lyrics a cut above many of the bands in the genre. Lead single/video "We Will Fall Together" has an anthemic chorus and a hint of an eastern European influence that could appeal to Gogol Bordello fans. "Down, Down, Down To Mephisto's Cafe" and "One Foot On The Gas, One Foot In The Grave" start slow before kicking into high gear, while "Would You Be Impressed?" is one of the punkier tracks. While ska-punk has its critics and no longer carries the cachet that it did a decade ago, Somewhere In The Between is a consistent album throughout and shouldn't be dismissed out of hand. Steve McLean

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