Their debut album, Not Saying/Just Saying has been hailed for its innovative approach to the dance music genre; their live shows pulse with a contagious energy; and they reveal a refreshingly casual attitude towards fans. For fans in Calgarians, though, there's a small snag: Shout Out Out Out Out reside in Edmonton, the city of their sworn enemies.

An enlightening exhibition that has been traveling the world opened this month at the University of Calgary.

It starts as the beeps and boops remniscent of video games, segueing into smooth, electro-pop beats. It builds into the kind of head-bobbing, ass-shaking music that has indie kids tearing up dancefloors everywhere in their checkered skate shoes. This, of course, is the Junior Boys' second critically acclaimed offering, So this is Goodbye. Now they've taken it on the road, and they're bringing the intoxicating sound to Calgary.

The Dunes are a band embracing their past. The recent re-release of Socializing w/life has given them a chance to do something increasingly rare in music­--make an album that's a delight from start to finish.

The Format's Dog Problems might just be the best thing to come out of Pheonix since, well, ever. Although the album is short on problems with dogs, it does feature plenty of clever, enjoyable songs.

Listening to the latest of Ember Swift's nine releases, it's near-impossible to avoid grooving along to the mellow rhythms of the Ontario-based group. The band consists primarily of Ontario-born Swift and her B.C.-native musical counterpart Lyndell Montgomery, but also routinely features a diversified host of stand-in musicians who lend their creativity and talents to produce a mercurial mish-mash of uniquely Canadian sound.

The title may sound like sea-faring pedophilia, but The Captain and the Kid is really the continuation of Elton John's 1975 release Captain Fantastic and the Brown Dirt Cowboy. Its sequel status makes this album not so much a comeback, but a throw-back to Elton John's earlier career. Both albums seem intended as semi-autobiographical references to Elton and his long-time lyricist Bernie Taupin.

Billed as a campy comedy for all audiences (the press material is oddly eager to point out you don't have to be gay to like it), Wasabi Tuna is more like a train wreck. One where the train has careened off a cliff and onto an active minefield. And is leaking poison gas. And is somehow breeding nihilist werewolves. It's that bad.

What director Garry Beitel wants to show you is that there's more to Schwartz's than a good lunch--the narrow, age old Montreal landmark is a hub of excitement. The film offers insight into the lives of the staff--some who've walked the linoleum tiles for more than 30 years--and patrons who'll remember their first sandwich for a long time yet. While the look into the lives revolving around the deli is certainly compelling, it's also where the movie falters.

German filmmaker Hans- Christian Schmid's Requiem plays like The Exorcist without the demons and projectile vomit. Though inspired by the same events that prompted last year's Exorcism of Emily Rose, Schmid shuns the Hollywood horror approach, aiming for realism instead, leaving the audience to determine just how much of the devil is in the details.