Jacco Gardner, “Find Yourself.” Comes on strong like a James Bond theme, but when the vocals arrive they’re mysteriously effects-laden, changing the tone from bombastic to studio-poppy and neatly psychedelically weird.

Beans on Toast, “New Orleans Honeymoon.” Cutesy British pop tune in the Wreckless Eric/ Jonah Lewie vein. Low-key vocals and jaunty folk tune, not so ingratiating until the great brass arrangements kick in. Beans on Toast’s new album The Grand Scheme of Things is due in March.

Colin Stetson and Sarah Neufeld, “The Sun Roars Into View.” Awesome neo-classical pop riff where, in the space of seven and half minutes, minimalist violins transform into perky fiddles, bass lines become synth blips, and the world revolves in a whole new direction.

Programm, Like the Sun EP. Dark and somber yet strangely upbeat in how the rhythms jump and the female vocals seduce. “We Barely Escape” opens with an unearthly sound that starts as an alarm but turns into a modulated Hugo Montenegro-esque melody. The six and a half minute opus “ZeroZeroZero” opens in a slow neo-classical vein that turns into a thoughtful indie-pop soliloquoy and then spirals upward into a vibrant guitar solo, anchored by arch piano chords. Lots of unexpected textures on these four mysterious songs.

Dolce Désir, Le Couleur. I like dance-pop, but I do not actually like to dance. So I need there to be some cleverness to the non-dance elements of the music in order to catch my ear. The Canadian trio Dolce Désir satisfies this requirement for me with a level of silliness and irony (on such peppy compositions as “Concerto Rock”), not to mention the flowing French lyrics. Another distinction is brevity: none of the five songs on this EP is over four and half minutes, and the percussively precocious “Autovariation #64” clocks in at 2:28.

JMSN, JMSN (Blue Album). JMSN, the artist otherwise known as Christian Berishaj, could be dismissed as a Prince disciple, but there’s more of a Stevie Wonder brilliance to this blend of gospel, soul, funk, pop and poetry. It’s that mix of big cosmic questions (“Ocean”) and compelling overstatements (“I’m addicted to your love”) and ’68 Beatles keyboards and an infinite amount of intiriguing sound samples. So immaculately produced, it can touch you deeply, while also giving you a good chuckle at its overblown majesty.

Michael Feuerstack, “The Devil.” Roots blues/rock simplicity. “The Devil has my love” is the main sentiment. Practically a jumprope rhyme, but with a mean rhythm section. It gets busy and unpredictable eventually, with a wild guitar solo coming in at the third of the song’s five and a half minutes. But it’s that basic no-nonsense tune and lyric that sells “The Devil.”

Keath Mead, “Grow Up.” Swirling power pop guitars and airy ‘70s vocals. Where’s the brass section?

Happyness, “A Whole New Shape.” Punk pop that has a wondrous density and fullness. It swoops and floods and makes you giddy. A whole new shape indeed. Purposely brisk and light, but clearly a whole lot smarter than it wants to let on.

Alasdair Roberts, “In Dispraise of Hunger.” A gentle choral pop tune with pastoral folk overtones, ideal for wintertime. The video, directed by Joseph Briffa, truly graces Roberts’ vision.