From where we're sitting (lotus-legged, naturally), Kranky has been on a roll these past few years, signing many notable new (or newish) acts that are often solo projects or duos, yet feel fully-formed: Valet, White Rainbow, Atlas Sound, Lichens, Benoit Pioulard, Andrew Pekler, Cloudland Canyon...Although there are many elder bands on the Chicago-based label's roster of this general, ineffable ilk (Charalambides, Windy & Carl, Stars Of The Lid, Keith Fullerton Whitman, etc.), the A&R pace certainly seemed to pick up right around the time they took on Bird Show's first record, Green Inferno, back in 2005.

Then working with fellow Town And Country player Liz Payne only to go it alone for '06's Lightning Ghost, multi-instrumentalist Ben Vida is joined on this untitled effort by four other players: Rob "Lichens" Lowe and Ben's brother Adam, the three of whom are also 3/4 of US Maple successor of sorts Singer; improv percussionist Michael Zerang; and Greg Davis, who has toured as part of a collaborative trio with Vida and Whitman. Pan-African, Middle Eastern, South Asian and South American soundways intermingle in a rhythmic haze that's maybe more confident in how it'll cohere and congeal than the last two albums, as this more social setup allows for simultaneous recording and fewer overdubs. The fourth-world spirits of Riley, Hassell, and Codona run through this music, and a true fusion connection is here for the making.

Joseph Raglani, for his part, presents a mighty fine floater with Of Sirens Born, mainly synthesized and seemingly rooted in old-school analogue academic experimental electronics, but with enough warmth and gumption to want to lump it in with the punkier noiseniks and ambient outcasts. Makes for terrific namesake theme music whenever it graces the store's PA!

Though Jorge Ben had previously recorded many great albums, this is his first undeniable masterpiece, finally reissued via Dusty Groove. Originally a prime influence on the Tropicalia movement, Ben returned the favour, taking Gilberto Gil and Caetano Veloso's psychedelic experiments and joining forces with A Banda Tropicalista arranger Rogerio Duprat to churn out this collection, including stone classics like "Pais Tropical" and "Take It Easy My Brother Charles". With this album (his first of many to feature backing from Trio Mocoto), Ben had arrived at his signature, much-imitated Samba Soul sound.

In the midst of being supported by a three-month festival circuit tour that's already set world-music circles abuzz, this collaboration between the Boulder (via Toronto) banjo wiz and Malian kora griot sees the two men meeting halfway, splitting writing credits between Stone's adaptations of traditional West African melodies and Sissoko's own songs. Light and breezy but expertly played (with calabash and kit accompaniment from the always-attuned Nick Fraser of T.O.'s own Drumheller and Deep Dark United), fans of the likes of Toumani Diabate should enjoy this session of vibrant, pander-free fusion.

African funk fans have truly been spoiled this past year, with three installments of Soundway's Nigeria Special series, Drag City-distro'ed Malian reissue label Yaala Yaala up to their fifth title, and Strut just having released its Lagos Jump single-disc follow-up to the unavailable original Nigeria 70 set. Having already enticed Afro-fiends with anthologies dedicated to The Green Arrows and Hallelujah Chicken Run Band, Analog Africa dives right in with African Scream Contest's overview of the '70s scene in Benin and Togo, two countries smack-dab between better-documented hotbeds Ghana and Nigeria.

A more accurate subtitling than could be expected, with an even mix of all three feels as well as welcome veers, like an Africa-meets-rockers take on the "Baby I Love You So" riddim for Chief Checker's "Africa Irie". As with Disco Not Disco, the 2001 3CD set that gave this its name will remain out of print, but there's lots to bask in right here, from Sir Shina Peters' talking-drum juju "Yabis" (the most modern-sounding production compiled) to Bola Johnson's stuttering palm-muted "Ezuku Buzo" and the spacey slapback on Peter King's "African Dialects" (whose 'lost LP' Shango on Strut is also OP).

With an emphasis on the post-Biafran War early '70s and making a concerted effort to extend beyond the well-mined Lagos-centric scope, Nigeria Special brings together highlife and Afro-rock obscurities, many of which have never before been issued on CD. Boasting lovingly reproduced Waxpoetics-style sleeve spreads of all the sourced LPs and 45s and detailed biographies of the featured bands, this hefty comp is a testament to the wealth of music made in Nigeria in this golden age of African funk.

Despite being a cult favourite for decades now, Serge Gainsbourg remains an enigmatic figure to many, known for little more than his salacious duet with Jane Birkin. For anyone curious as to just how capable this French icon really was, this compilation of his psychedelic output ain't a bad spot to start. This is less of a 'greatest hits' package than a treasure trove with highlights for even the biggest fans of the man. Many tracks were previously only available as very rare 7" vinyl singles or even found on commercially unavailable master tapes. A gifted arranger who was fond of always expanding his instrumental palette.

After spending so much of the 80s and 90s trying to fit himself into the Western mold of an African singer, N'Dour took the new millenium as an opportunity to reclaim his roots. Rokka Mi Rokku is more light-hearted and playful than recent discs Egypt or Nothing's In Vain, but it remains an album based in African ensemble playing. It's not that N'Dour has completely turned his back on the West--Neneh Cherry of all people even duets on closer "Wake Up (It's Africa Calling)"--it's just that now he makes fond allusions rather than forced concessions to it.

The Ethiopiques series is one of the best world music series out there, but at some 21 volumes, it has also become one of the more intimidating in which to invest. This two CD collection eases the burden slightly by compiling the cream of the crop from an imprint that has well chronicled a golden era of Ethiopian music that occurred in the 1960s & 70s. Of course, arguments can be made for the superiority of any number of the individual volumes, but this set is still a phenomenal introduction to music that had its ears pointed everywhere: soul, jazz, funk, African, blues, big band, past, present and future.

Following on the heels of their exceptional Tropicalia compilation, Britain's Soul Jazz records has given us Brazil 70, a document whose merits go deeper than just the music. Brazil 70 pulls tracks from a time when the country's dictatorship was at its peak and even the most popular artists lived with the constant threat of censure and far worse. In the face of this adversity, Tropicalian stars Gal Costa, Rita Lee and Gilberto Gil, although with new voices Joyce, Novos Baianos and more produced music full of radical fusions and intelligently disguised themes of sexuality and identity. Dynamite.

He may be Parisian born, but Manu Chao is clearly a son of the world. Whether it's his five language dialect or relentless style hop scotching, Chao is a testament to those who advocate the irrelevance of genres in music. On his first album in six years, the man retains all of the traits that have won him big cult status: Latin rhythms, unexpected tempo shifts, and a kaleidoscopic range from frenetic to tender. A riveting live performer, Chao keeps the energy up on record by never lingering too long on any one tune; of the 21 tracks, a great majority are just under or just over two minutes.

                   

Founded by Jack Carneal, an American who moved to the Mali town of Bougouni in 1999, the new Yaala Yaala label is dedicated to unearthing a very different side to the music of this African nation than the Western world is used to seeing. It makes sense that this label's albums are being released in partnership with U.S. indie stalwart Drag City, because its three introductory releases are to the World Circuit/Nonesuch catalogue (home to Mali's best known international artists) what Drag City, et al are to pop music's major labels. These three albums have no track listings, minimal artwork, and have been recorded on boomboxes simply for the sake of archiving a moment. There are two self-titled albums by Pekos/Yoro Diallo and Daouda Dembele, and a compilation entitled Bougouni Yaalali. Each of these albums is raw and pure, devoid of the sterile touches of a Western producer or studio. Microphones squeal with feedback and distort as the vocalists get excited and the results are field recordings of great impact and excitement. In this light, a debate has been made as to the validity of the work of people like World Circuit producer Nick Gold or Ry Cooder and whether their presence was something of a disservice to the integrity of Malian music, polishing it for Western consumption. That seems a touch elitist and reactionary, as though you can't enjoy both (which of course you can!). One thing is for sure, if the work of Rokia Troare, Oumou Sangare, Salif Keita and their peers has ever felt a little too safe for your liking, these recordings will blow your mind. Even if you are a fan of those artists, these albums provide a superb counterpoint. After a history of Steely Dans, the West may finally be getting its peek at some of Mali's Velvet Undergrounds. Excellent news!

With a near-perfect 20-year history of stellar releases from mainly African and Cuban artists, this label digs deep to put together World Circuit Presents, a 2CD compilation that is an embarrassment of riches. Considering this label helped introduced the world to Buena Vista Social Club, Orchestra Baobab and Ali Farka Toure (just to name a few), the quality here isn't surprising. But the real draw of this collection, aside from great unreleased material, is that it allows you to easily absorb a catalogue whose lesser-known talents are just as worthy of your ears as their "stars".