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Last Month's Top Sellers

2. JOEL PLASKETT - The Park Avenue Sobriety Test
3. JOSE GONZALEZ - Vestiges & Claws
4. COURTNEY BARNETT - Sometimes I Sit And Think, And Sometimes I Just Sit
5. BOB DYLAN - Shadows In The Night

Click here for full list.





Salif Keita's mid-'70s move from The Rail Band to Les Ambassadeurs is described in Florent Mazzoleni's liner notes as having been spurred on by a desire "to sing new songs, songs that described life in contemporary Mali in the second decade of the country's independence." Along with Teranga Beat's recent live archival set Dexter Johnson & Le Super Star de Dakar Live à L'Étoile, Les Ambassadeurs Du Motel... is yet another irresistible snapshot of Latin jazz-tinged West African music at its height.

"A specially mastered double album compilation of the original 1975 - 1977 recordings by one West Africa's greatest bands, the one which first set Salif Keita on his road to worldwide success. Including tracks never released digitally or on CD before, also containing the first ever release of two recordings from the vaults of Radio Mali." - Sterns Music

"Released to coincide with their historic reunion shows, this is an exquisite double-album reminder of the early days of one of Africa's greatest bands. Les Ambassadeurs were assembled in the early 1970s by a senior member of the Mali's military junta to entertain VIPs at a Bamako motel, and included great musicians from across west Africa, including the late Kanté Manfila on guitar, keyboard player Idrissa Soumaoro and guitarist Amadou Bagayoko (now a star with Amadou and Mariam)." - The Guardian



While we collectively wait for Flying Lotus' You're Dead! to be fully unveiled, take a listen to this underappreciated recent Brainfeeder release, as McFerrin's programmed-but-played, wonky-yet-sleek, collaborations-friendly approach is a perfect fit for the label while still managing to put his own distinct personality into the proceedings.

"A new breed of jazz-influenced musicians are seeing fit to explore the music's once seemingly endless possibilities, developing a new vocabulary that incorporates myriad contemporary styles and ideas alongside the traditional notions of what jazz could or should be. Making a clear point to distance himself from the a cappella work for which his father is most famous, the younger McFerrin shrouds his compositions on Early Riser in a wide range of contemporary and throwback sonic textures that simultaneously look to the past for inspiration and the future for direction. Largely eschewing vocals, McFerrin lets his instrumental chops do the talking, crafting lush soundscapes via his various keyboards within which he then incorporates a number of hip hop-indebted touches. Skittering beats, odd synth textures and hushed, bedroom vocals all compete for supremacy, entering and exiting the mix in a gauzily lysergic manner that lends the music an organic, undulating feel." - PopMatters



David Kilgour's unique jangly guitar sound and stream-of-consciousness lyrics speak to me like no other musician ever has. Kilgour is from New Zealand so he rarely plays Toronto, but my devotion to his music is such that I recently flew across the continent just to see him play shows in Portland and San Francisco. Pitchfork's review assigned End Times Undone a numeric score of 6.9, but in my books it's a 10.0.

"The beautiful new record from David Kilgour & The Heavy Eights, opens with the sound of guitars drifting down slowly, like rain on a windowpane. It almost sounds mournful, grey streaks of sound pooling together. Then, after about 50 seconds, it stops short and redirects entirely. A big, clanging guitar figure enters, the clouds break, and the song lightens and expands. The effect is arresting, as if the musicians were suddenly and simultaneously struck by a different idea and decided, all at once, to enthusiastically pursue it. As Kilgour explains it, that secenario is perhaps not too far from the truth. 'The more you think about music, and the more you work on it, the more it stinks,' he says. 'We were trying to just let the songs be in their organic state, and to catch them while they were as fresh and lively as possible.' To do this, Kilgour convened the group only once every four months or so. Rather than approach each session with a set of pre-written songs, they simply got in a room and waited for the muse to arrive." - Wondering Sound 



Recorded as a lone private-press release in 1971, Fiddle's a slight misnomer in that there's a minute-long solo bagpipe piece thrown in amidst the unaccompanied traditional jigs, barndances, and instrumental folk ballads, resulting in a one-of-a-kind, one-off branch between the old and the not-so-old weird America.

"Fiddle offers a fitting document of all Dawson's qualities: precision, humor, and wildness are all on display here. The longest track on the album, the three-part 'Connaughtman's Rambles/Devil's Dream/March Venerie,' gives Dawson an opportunity to show his chops and even, during the third section, to pick up the bagpipes. 'Drowsy Maggie' and 'Turkey In The Straw' also spotlight what could be termed Dawson's wildness, or, better, his loose precision: he misses not a note but is often content to let them slide together, intoning heart and informality, evoking an impulsive dance. 'Wild Goose Chase' and 'Cackling Hen' capture the frenetic nature of their subjects and are as like to evoke a chuckle as a tapping foot." - PopMatters


MONOMYTH - Saturnalia Regalia

Halifax’s cheeky woozesters Monomyth have been on our radar for a little while, thanks to some sweet cassette EPs and nationwide touring jaunts. They’ve released their first full-length Saturnalia Regalia as new signings to Mint Records (following the lead taken by fellow cool dudes Jay Arner and Tough Age), and have just announced a late summer tour through North America. All gangly riffs and reedy-voiced harmonies, get hip to Saturnalia's new Mint sound!

"Bred outside of Halifax and enduring their formative years well after that city was dubbed the 'Next Seattle,' some of the men in Monomyth might cut off their arms for My Bloody Valentine before being tagged Sloan fans. Thing is, Sloan once loved MBV so much, they aped their whole multilayered wash for a couple of years before the giant waves of sound pitched them dizzily onto video sets meant to resemble The Ed Sullivan Show. Seasoned ears will nonetheless hear shades of Sloan's Peppermint EP or the Super Friendz's Sticktoitiveness tape on this catchy record, but younger people will notice references to G-Unit's Tony Yayo on a song celebrating the swagger of Tupac Shakur ('Pac Ambition'). Killer songs about uncertain longing ('I want something else!,' one coda insists), four-track-era production values, swirly, cinnamon-y tones—it's all alluring, like a Beach Boys/Women mixtape." - Exclaim!


NAOMI PUNK - Television Man

While this second effort doesn't stray much from their already-impressive 2012 debut The Feeling, we're not complaining at all, happy to be bludgeoned again by another batch of slightly lopsided, aggressively indifferent Washington State sludge-pop.

"Television Man, the Pacific Northwest act’s follow-up to 2012's The Feeling, is musically disjointed, skittish and askew. The effect isn’t to dazzle with technicality or to confound with deliberate idiosyncrasies, but to take listeners on a circuitous ride to the song’s exalted musical peaks. It’s a ceaselessly forceful record, full of low-end blows that are felt more intensely due to the fact that the arrival schedule is so fickle. It’s also occasionally beautiful, namely when sustained vocal lines cascade across the syncopated bludgeoning of every crescendo." - Wondering Sound

"Most of Television's songs—and most of the songs on 2012's The Feeling, for that matter—are slow and grunge-like, anchored by vaguely radioactive-sounding guitars and vocals mumbled to the point of unintelligibility. They are heavy and romantic but sour end-to-end, the ballads of a teenage swamp thing preening in the dark. They're also unexpectedly pretty, filled with twists of melody and structure far more sophisticated than they need to be to fly in the realms of punk and underground rock." - Pitchfork



When our former co-worker Mike came back from Sappyfest last year, he was quick to mention jangle-poppy P.E.I.-to-Toronto transplants Alvvays as a festival highlight. Our anticipation for their album has been building since then, and it's not just us: the strength of two catchy-as-heck singles ("Archie, Marry Me" and "Adult Diversion") created some real excitement to hear the full-length, and it doesn't disappoint. It's your funny-sad-smart summer record; a blast to blast on a sunny day, but with enough ennui to last through winter.

"The lyrics throughout Alvvays are direct; they're mostly sung to people rather than about them, lending immediate access to every story. They're also awkward—which is to say they're about awkwardness in a way that songs, particularly beach songs, rarely are. Millennial social anxiety, it turns out, is a wildcard genius pairing with breezy, effortlessly cool surf-rock, and the combination is irresistible. 'Adult Diversion,' for example, obsesses over whether a social interaction 'is a good time/or is it highly inappropriate.' No time for lying around in the sun after catching waves today, man — there are too many future conversations to hash out in great detail ('Archie, Marry Me'). Over-analyzing, easygoing; reverb-infused, direct; nonchalant, plaintive: These aren't unprecedented musical pairings, but Alvvays wields them particularly well, tapping into a widely mined and instantly recognizable genre to create their juxtapositions." - NPR


KEITH CROSS & PETER ROSS - Bored Civilians

This recent reissue from Esoteric Recordings first caught our eye when it received a glowing writeup in MOJO magazine. Keith Cross & Peter Ross' Bored Civilians came after Cross' departure from short-lived prog-rock group T2. He took a different path with this next project with Ross, although Bored Civilians' Laurel Canyon-esque folk-rock has enough proggy touches to mark this album as a uniquely British take on the California sound.

"Esoteric Recordings are pleased to announce the release of an official re-mastered edition of Bored Civilians, the only album by the duo of Keith Cross & Peter Ross. Cross had earned plaudits as a young guitar virtuoso with the power trio T2 (who recorded an album for Decca Records in 1970). By 1972 his music had developed still further when he teamed up with Ross to record this marvellous album for Decca Records with guest musicians such as Nick Lowe, Jimmy Hastings and B.J. Cole. Highly sought after by collectors of the 'progressive' era, Bored Civilians has been newly re-mastered from the original Decca master tapes and includes two rare B-sides as bonus tracks. This reissue restores the original album artwork and includes a new essay." - Cherry Red


VIET CONG - Cassette (12" EP)

While we're waiting for the fully-fledged full-length debut (which we're especially eagerly anticipating if the advance 'rough mix' of "Bunker Buster" is any indication of what's in store), this vinyl-only reissue of Viet Cong's 2013 cassette-only EP is a fine introduction to the band's paisley-stained post-punk, while inevitably also serving to sate those who still wonder what a third Women record might have sounded like.

"Viet Cong is a new project made up of four distinct voices. Matt Flegel and Scott Munro (respective former members of beloved Calgary band Women, and Chad VanGaalen's band) spent much of 2013 in their basement studio with a mess of old and run-down equipment to build a set of fresh material. Joined by bandmates Daniel Christiansen and Michael Wallace, the band completed work on a debut cassette. What emerged from the studio was a mixture of sharply-angled rhythmic workouts and euphoric '60s garage pop melodies, balanced with a penchant for drone-y, VU-styled downer moments." - Mexican Summer


VA - Country Funk II: 1967-1974

Featuring an undeniable pair of bookending cuts (Billy Swan's "Don't Be Cruel" and Willis Alan Ramsey's "Northeast Texas Women," respectively), a couple of killer mid-comp covers (Jackie DeShannon singing "The Weight," as well as Dillard and Clark doing "Don't Let Me Down") and the appreciated inclusion of J.J. Cale's "Cajun Moon," this second volume of one of Light In The Attic's more intruiging series satistifies on its own, yet leaves plenty of room for future installments further down the line.

"On July 15th, esteemed record excavators Light In The Attic released Country Funk II: 1967-1974, the second compilation of a genre that's unlikely, completely fictional and utterly fantastic. It's the brainchild of Los Angeles digger Zach Cowie, 33, a man who makes his living through curation, film supervision and DJ gigs—basically a professional record geek. Bringing together country songs with sick breakbeats, twangy, groovin' rock covers and all sorts of genre crossovers, Country Funk II unearths the most head-knocking moments from Dolly Parton, Willie Nelson, Townes Van Zandt, Kenny Rogers and a whole mess of far less famous people. In turn, it may be the year's most masterful compilation, working both as a stellar DJ set and a collection of underappreciated gems." - Rolling Stone


VA - Eccentric Soul: The Way Out Label

We recently received a call from a customer looking to track down a song their toddler was groovin' to in the shop. Well, after some detective work we determined it was the fantastic "Demanding Man" by The Sensations from this wonderful collection of Cleveland soul. There are many other danceable groovers on here, as well as some deeper soul, like the fabulous "I've Got Everything I Need" by The Soul Notes. 

"Fueled by the financial drippings of number runners and boosted by Hall-of-Fame running back Jim Brown, Cleveland, Ohio's Way Out Records offered asylum for a rising crop of rogue soul men, rust-belt vocal ensembles, and trial-by-fire producers. Helmed by a friendly consortium of hustlers, police officers, and gridiron giants, pet project beget obsession as Motown arrangers, gospel choirs, and the Cleveland Symphony Orchestra were all beckoned to the wrong side of the tracks to mint masterpieces for the Sensations, Volcanic Eruption, the Exceptional Three, and Bobby Wade, all beneath the mindful gaze of a wall-mounted shotgun. Reaching their peak in the late '60s, Eccentric Soul: The Way Out Label gathers the brightest moments from the quirky operation's eleven year bid." - Numero Group


DONNIE & JOE EMERSON - Still Dreamin' Wild: The Lost Recordings 1979-81

The archival sequel to Light In The Attic's original reissue of the Emerson brothers' lone private press effort, Still Dreamin' Wild manages to be both more cleanly produced and arguably slightly stranger than its predecessor (and certainly more synth-laced); consider it the Tusk to Dreamin' Wild's Rumours.

"Still Dreamin’ Wild: The Lost Recordings 1979-81 presents that secondary stage of reissue culture, culling demos in the years after the younger Emerson graduated high school and began traveling to Los Angeles in the hopes of realizing his teenage dreams. Older brother Joe was already turning his attentions to the family farm, his presence only heard on two of the album’s twelve tracks. Donnie’s polymath musical skills are on full display, from drums to poly-Moog synth, and his ability to mimic the more popular hits on the radio of the day remains uncanny." - Pitchfork


ALEXIS TAYLOR - Await Barbarians

Some of us on staff here were bigger-than-expected fans of Alexis Taylor's first solo album Rubbed Out when it was released back in October 2008, and Await Barbarians makes for another good-humoured, heart-on-sleeve sleeper set of songs teetering between thoughtful, singer/songwriter-ly tunefulness and gleeful electronic abandon.

"Taylor lays bare the heart and art always faintly detectable beneath the happy grooves. His high, thin vocals, careful diction and formal lyrical style are well suited to the more traditional role of sensitive singer-songwriter. Framed by wonky and at times extremely minimalist electronica, with ambient noises and odd glitches, his songs strike a balance between a kind of country folksiness and offbeat futurism. Lyrically, preoccupations include mortality, relationship problems and general anxieties about life but leavened by dry humour that is more playful than melancholy." - The Telegraph


SLINT - Spiderland (remastered CD/LP with outtakes/demos + DVD)

If you passed on the pricy limited-edition Record Store Day box set but were pining to watch the enclosed Breadcrumb Trail documentary, now's your chance to check it out, bundled with a brand-new remastering of the original record as well as a download card with 14 tracks' worth of never-before-heard rehearsal and demo material.

"A foreword by collaborator Will Oldham, 14 previously unreleased outtakes and demos, and a documentary detail the creation of the album and the career arc of Slint in general. Spiderland itself remains a wasteland, a bleak, undead sulk of spindling guitar and hollow percussion. Seven-minute conclusion 'Good Morning, Captain' constitutes a main talking point, Brian McMahan's bizarre, spoken-word fairy tale wrapping around an oppressive death march. And yet, when you page through the booklet you'll see smiling faces, kids having fun recording in the studio. It's as if this reissue wants to prove Slint was human, not just a faceless menace that cut a record lost to time and circumstance, worthy of celebration and also fitting neatly in a box." - Austin Chronicle


VA - Hello Everyone: Popsike Sparks From Denmark Street 1968-70

We’ve been utterly charmed by this new offering from Cherry Red's psych imprint Grapefruit, a compilation of songs from the short-lived UK label Spark. It’s a psych-pop whirlwind that jumps from early glam (The Baby's "Heartbreaker") to a pair of trippy Donovan covers by the eternally electric actor/singer Eartha Kitt.

"The best of Spark's impressive roster is now collected on CD for the first time on Hello Everyone: Popsike Sparks From Denmark Street 1968-70, which assembles highly-prized, highly-priced 45s from pre-Rare Bird band Fruit Machine, Gene Latter, post-Sorrows outfit The Eggy, The New Generation (subsequently to become the Sutherland Brothers), the Dennis Wheatley-inspired Icarus and both sides of the magnificent and astonishingly rare single by Sir Ching I (only one stock copy known to exist).  Also included are exquisite Brit popsike singles from Timothy Blue, Just William, both sides of the superb John Carter/Russ Alquist collaboration 'The Laughing Man'/'Midsummer Dreaming' and two sensational offerings from Eartha Kitt during her brief and unlikely immersion in late-Sixties hippy-chick chic." - Cherry Red


MAX RICHTER - Retrospective (4CD)

The success of Max Richter's Recomposition of Vivaldi's The Four Seasons, our best-selling classical release of the past five years by a significant margin, has resulted in this repackaging of four of his earlier releases in a stunning box set by Deutsche Grammophon. A beautiful hybrid of ambient, classical and electronic styles.

"Whether it be the Haruki Murakami readings and subtle piano arrangements with the broken synapse electronics flickering in the background on parts of 2006's Songs From Before or the more mechanical effusions that emit a dystopian glow from 2008's 24 Postcards In Full Colour, there is a restless energy percolating beneath the elegance and the elegiac. 2010’s Infra closes out the set, an album that fuses the electronic, the orchestral and the ethereal like no other piece this reviewer’s heard before or since.

By corralling all of Richter's fine works of this period together,
 Retrospective firmly underscores the belief that music can transcend all boundaries. From the soaring wonders of On The Nature Of Daylight right through to the mournful violin that sees out Infra 8, Richter beckons for the listener to close their eyes and jump into the nebulous abyss of their own imagination. That ability is truly magical." -


THE SUPERBS - The Best Of The Superbs

Kent Records has released a few soul group harmony compilations in the past, including the solid Soul In Harmony release from last December. Here, the label's focus is on just one group, LA's Superbs, who play a pleasing hybrid of doo-wop and early soul styles that should appeal to fans of both genres. A particular highlight is the finale of 'The Big Hurt,' when a mind-blowing falsetto appears out of nowhere, putting an exclamation point on the agony of waiting for the final argument that ends a relationship.

"One R&B hit with 'Baby, Baby All The Time' is a poor return for the 25 singles The Superbs had on the Doré label between 1964 and 1987, and does not reflect the importance the group had on the Los Angeles soul harmony scene. Their enduring popularity and the high esteem in which they are held by soul music lovers in the USA is a truer indication of their impact. The Low Rider scene in LA in particular looks on them as demigods. They had their own instantly recognisable sound, a feature that can be attributed to only a handful of soul groups. It's the ballad side of their work that appeals to soul harmony collectors. Although their sound can be quite sweet, the subtle early Gene Page arrangements and clever song selection makes their music appealing to all soul fans." - Ace Records



Tasteful, subtle and inscrutable, Belgium's De Biasio and band have made one of the few modern vocal jazz records to've caused our heads to turn and ears to perk up!

"No Deal was recorded in 3 days and we adopted a basic, old-way approach to this with everyone in the same room except the vocalist, separated by a transparent window. The placement of the microphones and musicians were really important, so the whole of the first day was used to do this. We wanted it to be perfect. Over the next two days we created the textures and colours of No Deal. Once we finished recording, I took my time to really extract and distill the essence of the album." - Melanie De Biasio, as told to Q Magazine


DJANGO DJANGO - LateNightTales

Eclectic without sacrificing form and flow, Django Django deliver a LateNightTales mix that effortlessly flits from jazz-funk to contemporary bass tracks to sunshine psych to yacht rock and back again, while also introducing us to the stunning "Poor Moon," what must be the most entrancing Blind Owl-sung Canned Heat song we'd never heard.

"At one end of the Django spectrum there's James Last, the terminally unhip Teuton, whose 'Inner City Blues' shows you can never underestimate the Germans, while at the far reaches of the mix, they manage to sneak in Ramadanman ('Bass Drums') and Hudson Mohawke and Lunice collaboration TNGHT's 'Bugg'n.' You can hear the echoes of influences in some of the selections, like The Beach Boys whose peerless 'Surf's Up' makes a welcome appearance halfway through, while Seals & Crofts' 'Get Closer' show what sun-drenched pop can sound like when it's done well.

And because it's Late Night Tales there's a sparkling cover version of 'Porpoise Song,' the theme from The Monkees daffily brilliant Head, an admirably lysergic termination to this waltz through pop's nooks and cranberries. "You should never be afraid to make a fool of yourself for art," Dave Maclean once said. Let's raise a dram to Scotland's favourite fools on the hill." - LateNightTales

VA - Mod Jazz And Then Some! / VA - Paul Murphy Presents The Return Of Jazz Club

Two new jazz sets from Ace Records' Kent and BGP imprints, with the former expanding upon the the Mod Jazz series' focus on the early-'60s intersection of jazzy R&B and bluesy jazz, while the latter features the sort of latin jazz and hard bop cuts that once filled the dancefloor during Paul Murphy's mid-'80s proto-rare groove/acid jazz DJing heyday in London.

"You probably know the Mod Jazz drill by now: 24 cuts that have the feel of a smoky early-'60s basement about them, with plenty of jazz attitude, a touch of the blues (as Bobby 'Blue' Bland might have sung) and a pinch of latin spice. It's the sort of music that makes you want to don a midnight blue mohair two-piece with some well-polished Bass Weejuns and take to the dancefloor." - Ace Records

"Culled from the extensive Prestige and Riverside catalogues, The Return Of Jazz Club is mix of all the things good about Paul Murphy's original Jazz Club compilations: distinctive latin jazz from Art Farmer and Billy Taylor, a touch of vocal jazz from Eddie Jefferson and dancefloor-friendly blues-filled gems such as Bennie Green's 'Hi-Yo Silver'." - Ace Records