Combining true appreciation of pop forms with sincere delivery, Canadian singer/songwriter Aaron Booth has lovingly crafted a sophomore record that both validates his musicianship and breaks new territory in the pop landscape. Our Last Escape follows in the footsteps of the young Elvis Costello, fellow Canadian Ron Sexsmith or even a drama-free Hawksley Workman, and its songs are intriguing for their simplistic beauty and the stories they convey.

Joined on record by members of The Arcade Fire and Snailhouse, Booth shifts his focus from the melancholy bedroom confessions of his debut, Transparent, instead zeroing in on the carefully written melodies that make Our Last Escape such a joy to listen to. In songs like "Wrong Idea" and "How Long", the arrangements are fleshed out with tasteful vibraphone, organ, brass, flute and lap steel flourishes. His melodies are simple, catchy and downright lovely, and while the lyrical melancholia hasn't entirely departed (listen to the forlorn "How Long": "How long till I hear my name / (How) long till I find the one song / That never tires being sung"), their musical wrappings are bright enough to soften the desperation that exists at the core of Booth's songs. Other pieces have an obvious nostalgic bent, most notably the title track and "Cool Again", in which Booth starts off singing, "Maybe your leg warmers / Will someday make nice sleeves / Maybe those red leather pants / Will cover your car seats." Slower, quieter pieces such as "Fall Over Me Satellite" and "Slow Fire Burning Bright" are a little more obvious in their intent, but that's also a testament to Booth's use of tempo and dynamics to vary the emotional impact of his songs, despite their thematic similarity.

While Booth counts Americana as a prime influence, Our Last Escape is more centrally rooted in the pop that he obviously adores. As a result, it's easy to place him closer to the confessional style of singers like Conor Oberst and Chris Carrabba than alt-country or folk performers. This is definitely a good thing for everyone whose appreciation for true singer/songwriter pop has been defined by such second-rate emo -- Booth is sincere, but he's not satirical, ironic or self-assured. He doesn't feign melodrama, he's not pompous, he doesn't play to the lowest common denominator and his intent lasts long after the final note rings through. And although it's a shame when overwrought and unsubtle performers overshadow those who are ultimately more focused on being creative -- the acoustic guitar is not a gimmick -- oversimplified messages will never triumph over undiluted expression as long as songwriters like Aaron Booth opt to satisfy their own impulses, graciously allowing us to follow along.