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First time vinyl issue of a killer, impossibly rare document from NYC no wave pioneers Don King, the short-lived mid-'80s post-Mars band from Mark Cunningham, featuring Arto and Duncan Lindsay, Lucy Hamilton and John Erskine in their all-star lineup, on a hyper-sensual and humid, screwed Jazz tip.

Centred around two members of Mars - Lucy Hamilton and Mark Cunningham - renowned for featuring on Brian Eno’s legendary ‘No New York’ (1978) survey, as well as affiliates of Sonic Youth and Swans; Don King were a lesser known vehicle for the no wave rogues to follow their nose into the weirdo recesses of art-rock/free jazz that followed the rudimentary, DIY tenets of the original no wavers. The skronk quota is high on this one, but their performances are so much more sensual, humid and slower than the no wave bracket would suggest, revealing the band like some loose echo of Sun Ra or a spangled Arthur Russell jam with Peter Zummo in their performances surrendered from shows in Geneva, Lausanne, Toulouse, Barcelona, Padova and Parma, and first issued by Barcelona’s 4 Sellos label in 1987, in the years after their s/t debut and a 1985 single for Cabaret Voltaire’s Double Vision label.

The 10 pieces, room recorded in all locations, are replete with audience chatter in the air hovering through a brassy rabble in operation. Led by the twin trumpet and bass clarinet bleat of Mars’ Mark Cunningham and Lucy Hamilton, Sonic Youth producer John Erskine provides taped percussion tracks with backing from the Lindsays, and Toni Nogueira, as they roll out from the minimalist reps of ‘Fern Gully’ to a sonorous industrial tango, and Hamilton’s operatic wail on ‘Obsolescence’, taking in a skew of jazz standard ’Summertime’, fraying into proper no wave shred and racket on ‘Mediterrain’, and like a punk Sun Ra in ‘Don Rey’, reminding us of Alex Zhang Hungtai’s recent foray into voice-note recorded spiritual, concrète jazz.

On his debut album kotokid walks you through meandering scenes of jazz fusion and hip-hop infused sonic cinema. While bass guitar is his bread and butter, the Amsterdam-based musician is a multi-instrumentalist in the truest sense of the word. Throughout this album he effortlessly blends together enchanting harmonies, expansive synth-scapes, intimate piano melodies, stanky bass grooves. With ‘ignite’ and ‘early spring’ he captures the emotions of rebirth, renewal, and hope. Energizing the spirit with ‘Fl00t’, ‘floating’ and ‘Titan’ he invites a sense of action, urgency and eventual triumph. Victory’s abound. Sonic meditations in their own right, ‘soil’ and ‘kotokin’ blend cinematic stylized melodies together eliciting introspection and clarity. And whether it's joy, nostalgia, discomfort, pain, grief, longing or happy remembrance - ‘family & death’ - conjures the plethora of these experiences in a life giving dance between piano and cello.

Black Decelerant is the second installment of Reflections, a series showcasing contemporary collaborations orchestrated by RVNG Intl., recently inaugurated by Steve Gunn and David Moore.Black Decelerant, the duo of Khari Lucas, aka Contour, and Omari Jazz, explores jazz traditions, improvising with synthesizers, guitars, and electronics as a practice laid forth by their musical ancestors. This experience allows for sonic meditations on themes such as Black being/nonbeing, mourning/life, expansion/limitation, and the individual/the collective. The two strive to create a sonic surface which can simultaneously allow Black listeners a place to be still, and to serve as a basis for a movement beyond "the moment." The album's ten compositions configure vast, resonant landscapes with signals, weathers and spirits, suspended in memory and distilled in time. The Black Decelerant machine recalibrates archival relics and acoustic impulses into collages of amalgamated timbres, where harmony exists not without discordance. Across the expansive space of the record, cadent storms of modulated sound ascend beside serene melodic spells. Piano keys and bass lines tumble in free fall throughout the release, accompanied on tracks "two" and "eight" by the spectral trumpet improvisations of Jawwaad Taylor.The duo arrived at their name upon reading Aria Dean's Notes on Blacceleration, an article which explores Accelerationism within the context of Black being or non-being as a foundational tenet of capitalism. Coupled with the record's intended effect, "Black Decelerant" references the music being an invitation to slow down, while hinting at the shared politics between themselves and the artists and thinkers who inspire them.

Pianist Fabian Kallerdahl (Musicmusicmusic, the World etc.) together with Ossian Ward on drums and Albin Lindgård on bass follow up their highly acclaimed live-album from Sweden’s hottest jazz club with volume 2. Hip and spontaneous arrangements of standards, folklore and 80s hits. Live jazz music at its absolute finest.

Wewantsounds is delighted to announce the reissue of Norio Maeda"s cult classic "Rock Communication Yagibushi" released in Japan in 1970. The album has since become a Japanese Jazz Funk cornerstone and is now highly sought-after on the international DJ scene. The album reinterprets 14 traditional Japanese folk songs into jaw-dropping Jazz Funk instrumentals featuring killer arrangements by Maeda that would fit perfectly between David Axelrod and Lalo Schifrin. One of the most prolific Nippon arrangers, Norio Maeda on a par with Yuji Ohno and Kentaro Haneda and this album has long been on many collectors" wantlist. "Rock Communication Yagibushi" is reissued internationally for the first time, with newly remastered audio, original gatefold artwork and new liner notes by Paul Bowler.

Born in Luxembourg, the burgeoning trumpeter Daniel Migliosi has swiftly carved a niche for himself within the realm of jazz, garnering acclaim for his first album, 'left ON SCENE.' Renowned for his proficiency with the trumpet, his music deftly channels the nostalgic tones of swing and modern jazz, an ode to the musical landscape of his formative years. In his latest musical endeavour, Migliosi has assembled a group comprising both cherished friends and luminaries of the international jazz scene from Finland, Luxembourg and the UK. With 'ON THE Edge' serving as a testament to Migliosi's musical prowess, his quintet offers the enduring vitality of jazz, masterfully rendered in a way that will captivate audiences and rekindle the spirit of this timeless genre.

After playing with Mingus, Coltrane, Lady Day and Abbey Lincoln, inventive jazz pianist Mal Waldron moved to Europe and first reached Japan in 1970, where he met Idahoborn double-bassist Gary Peacock, who had played with Art Pepper, Bud Shank, Bill Evans and free-jazz giant, Albert Ayler before moving to Japan to study zen buddhism. First Encounter, recorded in Tokyo in 1971 for French producer Herve Bergerat, shows that the intense pairing was quite natural, the harmonic dissonance of Waldron’s “She Walks In Beauty” contrasted by the up-tempo groove of Peacock’s “What’s That”; future Native Son founder Hiroshi Murakami makes important contribution on drums.