Toronto-based Alvvays are often billed as up-and-comers, but those paying attention to Canadian music—in particular, from the Maritimes—should be plenty familiar with its members: Their singer, Molly Rankin, grew up in the, er, ranks of the Rankin family, while guitarist Alec O’Hanley cut his teeth in P.E.I. power pop act Two Hours Traffic. Yet Alvvays sounds nothing like either project, fusing dBs-indebted jangle pop, Flying Nun-esque indie, and c86-owing twee into a smooth, occasionally messy concoction. They’re currently sitting on an LP made with Calgary legend Chad VanGaalen, set for release via Hollerado’s Royal Mountain Records. (How’s that for namedropping?)

Dead Ghosts

Vancouver B.C.’s Dead Ghosts have been around for years, but with last April’s Can’t Get No, the scruffy, lo-fi troupe rocketed up the ranks of Canada’s garage elite. (And elite it is: Powerhouse labels like HoZac, Southpaw, and Dirtnap have all cut albums by Northerners in recent memory.) Dead Ghosts, for their part, cut their LPs with the near-perfect Burger Records, and their swooning, country-tinged take on the genre feels like weed-damaged odes to better times.

Tough Age

A Tribe Called Red make as much noise with their music as they do with their political beliefs. Tribe aren’t just a good band—they’re an important one, too. This Ottawa outfit’s unique approach to EDM—incorporating music from the First Nations of Canada—earned them a well-deserved place on 2013’s Polaris Prize’s shortlist, but their outspoken take on sociopolitical issues (and their focus on civil rights) ensures that there’s more to listen to beyond their chopped synthesizers.

Grand Analog

Odario Williams is rooted in hip-hop, but Grand Analog’s music doesn’t like being defined. Blending folk, soul, and rock ‘n’ roll, Williams raps over live instrumentation—and accordingly, their newest album, Modern Thunder, is constantly shapeshifting. (As have his collobarations: Shad, Maylee Todd, and the Wilderness of Manitoba have all stopped in on Grand Analog songs.) SXSW kicks off what should be a busy summer for Williams, including a stop at the U.K.’s Great Escape festival.

Andy Shauf

Saskatchewan’s best known for its neverending—okay, kind of boring—horizon, but Andy Shauf’s looking to change his home province’s rep. Drawing heavily on Nick Drake and Elliott Smith influences, Shauf plays music that’s low on frills and high on emotion—and he uses piano, trumpet, and strings to frame songs that are as delicate as they are warm.

Saidah Baba Talibah

Based on her bloodlines, Saidah Baba Talibah could be Canadian jazz-blues royalty. Good thing, though, that she doesn’t rely on her DNA—her mom is revered singer Salome Bey—but instead, built her career on her show-stopping voice. Smoky, gritty, and wall-shakingly powerful, Talibah started with late ‘90s R&B act Blaxam, and now, she’s blasted past all genre barriers; expect to hear her raunchy take on soul, R&B, rock, and everything in between.

The Darcys

When they unveiled their cover of Drake’s “Hold On, We’re Going Home,” it became official: this Toronto indie-pop act can make anything sound good. Of course, we half knew this already—their full-album tribute to Steely Dan’s Aja should’ve been a flop, but as ever, the Darcys applied their magical Midas touch. Still, for all the headlines the band receives—for things like their high school tour—their best work comes from their originals: Scoop up 2013’s art rock opus, Warring, then watch ‘em wow Austin crowds with those songs.

The Harpoonist and the Axe Murderer

While the Harpoonist and the Axe Murderer have a name that’d be right at home at a Western Canadian folk festival, they’re anything but delicate-picked singer-songwriter fare. Instead, they’re a noisy blues duo—those who worship at the feet of Jack White and the Black Keys should be particularly interested in their brand of beer-swilling, smoked-out rock. Their Checkered Past LP is both warmly familiar and delightfully original—and we’re betting they’re going to be one of the standout blues-based acts in Austin.