Daniel Bélanger has shown young singer/songwriters how to cross over to the mainstream with their idiosyncrasies intact. That spirit can be felt in Marie-Pierre Arthur's “Rien à faire,” where the smooth Franco-Fleetwood Mac chorus is blasted by laser-beam synths. Louis-Jean Cormier's “Tout le monde en même temps,” meanwhile, retrofits Bélanger's soulful croon with a sprightly indie pop jangle.