“They’re like a cheap, Canadian version of The Strokes.”So said my friend after reading acclamations of The Stills’ April 3 show at the First Unitarian Church. It stands to reason that their sophomore album Without Feathers wasn’t eagerly anticipated by the indie community, because like my friend, many other people have dismissed The Stills and their musical chops as standard or boring in comparison to dynamos like The Strokes and Interpol. However, these Quebecois rockers have delivered a surprisingly fresh, lively and danceable 12-song rock album.If you’re familiar with The Stills’ first album, 2003’s Logic Will Break Your Heart, or their EP The Rememberese EP, you’ll probably be surprised by the sound of Without Feathers. Logic was the kind of album that took time to appreciate. Upon first listen, it seemed somewhat forgettable and bland. However, after further listening, its delicate melodies and pensive lyrics helped make it an indie rock record collection staple. Similar to other albums released in the early 2000s, Logic combined the New York sound of the time, namely indie garage rock, with sophisticated lyrics and heavy instrumentation. The only problem with their first album was that it came off as somewhat strained. The Stills seemed to be pushing for something just out of their reach. The intellectualism and grittiness associated with the urban disillusionment reflected in their sound just didn’t fit them.In sharp contrast, Without Feathers flows quite naturally. The rhythm, pace, and timing of each track seem predestined by some big producer in the sky. Although it remains true to their original sound, which is characterized by lush guitar layering combined with Tim Fletcher’s unique timbre and vocal phrasing, Without Feathers covers territory unexplored in their previous recordings: classic rock. That’s not to say that they sound like Americana-infused Southern rock ala Creedence Clearwater Revival, or alt-metal rockers Alice in Chains; The Stills’ new sound is better described as true-blue, no-question-about-it rock ’n roll. You can dance to it. You can clap to it. You can play air guitar to it. It’s not moody, and it’s not about art-school dropouts or cleverly phrased metaphors.On Without Feathers, The Stills have finally reached the sound goal that they began pursuing with Logic and Rememberese. Gone are the days of post-punk inspired brooding and scenester comparisons. The Stills have found a sound that fits them and their Canadian frontier roots by paring down the reverb and stocking up on pure rock. And yes, there is cowbell.Standout tracks include the break-up song “She’s Walking Out”; “Baby Blues” with fellow Canuck Emily Haines of Metric and Broken Social Scene; “Destroyer”; and the first track, “In the Beginning,” marked by driving guitars and tambourines—you won’t be able to sit still when it’s playing.“In the Beginning” seems to set the tone with an ambitious, forward-moving rhythm. But The Stills keep listeners on their toes, as track two, “The Mountain”, incorporates a honky-tonk piano sound and slightly dissonant chords. The Stills’ ability to create a cohesive album while using variety is one of the band’s best traits.Without Feathers is a much happier and considerably friendlier album for listeners. Maybe it came with maturity, maybe it came with finally accepting their own sound, but without a doubt, Without Feathers reflects a comfort and ease that neither Logic or Remeberese possessed.