There’s a common, likely unintended ethos at the center of most Canadian albums that curiously betrays their heritage without outwardly announcing it; a certain telltale vibe beyond the technical and structural instrumentation of the songs. Former Lowest of the Low guitarist Stephen Stanley’s new album Jimmy & The Moon proves an interesting observation of this notion.

This ethos is evidenced in the work of Spirit of the West, The Odds, Rheostatics, Great Big Sea, and several more of Stanley’s Canuck compatriots. But simple roots rock reminiscence is far too vague a conclusive descriptor. American artists dutifully namecheck their brand of Americana sneeringly, a badge in a now obligatory rite of musical passage. Canadians do so without intended bombast with more genteel, quieted intention. Jimmy & The Moon‘s title track and “Under the Mynah Bird” aptly demonstrate this premise, and album opener “Talkin’ Bout It” embodies the earnest charm and humility at the heart of Canadian musicianship ethos. But this disposition is only half of the allure of Jimmy & The Moon.

The other half is the album’s musical sophistication and songwriting scope. The power of Jimmy & The Moon lies in the fact that while it’s imbued in Canadiana, it doesn’t allow itself to be limited by it. The musicianship is grand and superior, with songs punching far above their Canadian indie weight class – the record easily holds its own among the likes of American roots rockers Chuck Prophet and The Jayhawks and beyond, particularly with tunes like “40 Endings”, “Things I Wish I’d Never Seen”, and “By Her Side”. Throughout the record, Jimmy & The Moon moves from strength to strength; whether it be the poppy singalong chorus of “Melinda” or the emotive grit of “Next To Me”.

Warm, pure nationalistic sincerity with worldly swagger. Albums like this one make me proud to be Canadian.

Oshawa rock duo Crown Lands released their Mantra EP last year, signalling a specialness among their bric-a-brac brethren in the clutter of contemporary rock. Still in their early 20s, guitarist Kevin Comeau and drummer/vocalist Cody J. R. Bowles boast a collective musical acumen far beyond their years, and their new EP, Rise Over Run, continues a deft navigation of the upstart moment they earned themselves with their first release.

The album kicks off with “Constant Motion”, a track resonating with power, precision, and cheekily referencing an 80s rock-ish guitar line in the middle eight. Radio favourite “Misery” is next, brimming with Bowles’ endless drum flurries complemented by Comeau’s crushing rhythms. Albeit slyly, all manner of classic influences can be heard on this record, including an oblique nod to skiffle in the breakdown of ethereal blues stomper “Big River Road”. Comeau’s frenetic slide guitar work shimmers with Zeppeliny gravitas on “Leatherman Blues” and “Mountain”, and Bowles’ swirling, rhapsodic vocal swagger elevates every track on this record.

With Rise Over Run and their previous release Mantra, Crown Lands have established their trajectory into more rarified air – they have the chops, the looks, and the wherewithal to become a very big act indeed. And their next record may well see them do that.