Canadian and hotly tipped is usually a good indication, occasionally an over-hyped bore. The former happily rings true for Hannah Georgas whose second, self-titled album is easy to like, has just the right amount of Feist and enjoys a deceptive longevity.

Stark, slow-building opener 'Elephant' piques interest; hints of 'Grow up and Blow Away' era Metric. Following track 'Somebody' quickly dispels any notion of this being an overly sombre album by being a wonderfully sarcastic ear worm with a walking beat and continual subtle variances that mark it indelibly as an album highlight that avoids feeling cheap.

That's the perfect summation of Georgas' sound: straight-forward, melodic and employing those Grandaddy or Arcade Fire-esque driving guitar lines to strong effect but with enough wry cleverness, humour, tints of sadness and good musical ideas to stay consistently engaging. Produced by Holy Fuck's analogue, pre-edm synth wizard Graham Walsh, there's no dearth of thought and passion put into the choice of instrumentation and it pays off without being pretentiously pushed to the fore.

By its close the album feels like more than the sum of its parts. Accessible but not shallow and intelligent pop that will encourage and reward plenty of repeat listening. Tracks like 'Millions' dial up the distorted guitars and packs a real punch, lyrics such as, "I wanna make my million, my fear is a crutch a little hell that I live in, if she can do it what the fuck how come I can't" seem honest and like the rest of the album adds a layer of emotional sensitivity that brilliantly offsets the playful synths and this whimsical wordless humming thing she does.

In fact emotional intelligence and sensitivity is what marks this record out from the crowd. Although she does dip into 'slightly fey female singer who has cybernetic tendencies' territory (Marina Diamandis, Robyn, I Blame Coco et al) and perhaps still takes the sadness of relationships a little too much as her muse, it's always presented well: "Like the mountains you are my distance, you are my distance and I am your peak."

There's not a single weak track on this album. Even the historically indulgent and usually crap final two or three songs are highlights, play-out song 'Waiting Game' possessed of some gorgeous harmonies and another killer groove. Therefore it ends on as good a track as it begins, one of the reasons I found myself going straight back in for another listen so frequently. I'd advise you don't though, as you don't want to burn through an album this good too quickly just because it's really catchy. Give it space to breathe, read between the lines, and you'll find this to be a nearly flawless, almost too typically Canadian pop gem and a stunning introduction to Hannah Georgas' new sound.