Collet repeats similar sound in 'Rat a Tat Tat'

Rat a Tat Tat is the fourth solo album from Toronto native Jason Collet and was released Tuesday on Arts & Crafts Records.Fitting nicely within the sonic styles laid by his band mates in Broken Social Scene, Collet wrote a mid-tempo collection of songs whose vintage sound adds a timeless feel to the music.

While this album plays one can't help but notice an underlying hiss that was the signature quirk of analog recording and adds another level of agelessness to the mix.

Collet managed to draw influences from different eras in music to keep his sound familiar to core fans yet branch out and dabble in styles that are normally unheard in his work.

"Rave on Sad Songs" starts off the album, which has an acoustic lead in very similar to what is expected on songs M. Ward would write, but builds steadily into a piano and accordion accompaniment.

Raspy tones that are the accordion signature have a distinctly high end sound that acts as a second lead to the vocals, which are supported by singers with a style similar to those in Motown recordings.

Every nuance in the multilayered track forces the listener to concentrate on the slightest reverberations that are not usually taken into account in twang heavy country-rock.

As the acoustic guitar fades out on "Rave" a simple drum pattern leads into the forceful introduction of "Lake Superior" with a climactic series of full-bodied punches and an electric lead that sounds like a play on "She Don't Use Jelly" by the Flaming Lips.

The record continues through the many ranges of David Bowie in "High Summer" and the minimalist folk songs routine in "Cold Blue Halo."

Collet brings dynamics into heavy play in "Long May You Love," which keeps a constant snare drum and four on the floor kick pattern similar to "Get Back" by the Beatles.

Instead of going to the big climax that is expected in songs that sit and build up there are multiple key changes that throw off the listener's preconceived notion of where the music should go.

As the song builds to its climax the chorus repeats and Collet shows that his vocal range is limited, but fits the music he makes. The music builds, yet his voice keeps consistent.

It does not get overbearing or too predictable and the song reaches the denouement at the most powerful point on the record, but remains controlled.

Many artists try to write a song that builds and it just ends up blaring and becoming intolerable, but Jason Collet keeps his sound reigned in while still keeping a soft groove.

Changes in instrumentation grow further in the finale, "Vanderpool Vanderpool."

Vocal harmonies assist Collert's limited voice reach the peaks and valleys that are aimed for and instead of focusing on a big electric guitar sound for the end he maintains a consistent tempo and feel throughout the recording.

Spanish guitar is utilized to interact with the accordion in a unique way that intertwines the two distinctive sounds to create a song that fits the album, but poses questions as to what sparked such instrumentation.

As a whole Rat a Tat Tat is a fun and interesting listen, but does not stand out among artists who have perfected similar styles.

Every song was well thought out and interesting, although the fact remains that every song brings other artist's recordings to mind.

It is easy to appreciate the various styles and instrumentation, but it is the only really stand out item on the album. It sounds good, but we have heard it before.