Jason Collett’s Rat A Tat Tat is, if nothing else, a really good time. Perhaps best known for his involvement with the Canadian indie super-darlings, Broken Social Scene, Collett also provides us with strong, ongoing evidence that he is a formidable solo musician. But that is not to say that Collett is in this thing alone. In fact, Rat A Tat Tat, Collett’s was produced by Carlin Nicholson and Michael O’Brien from the Toronto band Zeus, alongside fellow Arts & Craft musicians Tony Scherr, Liam O’Neil, and Andrew Whiteman from the Montreal outfit, The Stills. This infusion of new blood and old bones pays off with an album that is constructed with equal parts enterprise and enthusiasm. The rhythmic McCartney-esque bass-clacking and the whimsical trade-offs between organ and acoustic guitar in “Love is a Dirty Word” give listeners one of the most delightful pop songs in recent memory. This emphasis on fun-loving yet image-rich complexity continues throughout the somewhat saccharine, but surprisingly palatable tune, “High Summer” – a song which is ripe with ultra-slick guitar scraps and ultra-infectious choruses. Meanwhile, “Bitch City” gives Rat A Tat Tat its most familiar sounding track, perhaps due to apathetic ballad drums and melodic bass work that seems to accompany most Broken Social Scene albums. All told, Collett’s most derivative work hints at an unavoidable overlap between his solo and group work. Despite the overwhelming shadow of Collett’s collective output, Rat A Tat Tat reminds us just how much of a pop powerhouse this Canadian has become, with or without a little help from his friends.