Thirsty Ear Recordings is proud to release Dawn of Midi’s sophomore full-length Dysnomia today. The through-composed album premiered in full via The Wall Street Journal, who noted that Dysnomia “is built around deep, entrancing soundscapes that, taken as a whole, play like slowly shifting sections of one monolithic work rather than the nine distinct tracks comprising the album” The album is currently available for posting HERE. The band will celebrate the release of Dysnomia at New York City’s Le Poisson Rouge on September 3rd, featuring an opening set by Mark Dresser.
The band has received early praise for Dysnomia, including a recent feature on NPR’s Weekend Edition. In their three-and-a-half of four star review, The Los Angeles Times noted that “Echoes of the shape-shifting patterns of Terry Riley and the more experimental tributaries of EDM ring throughout, but the record’s propulsive, knotty tension carves out its own identity. It’s a mysterious, vital sound with a pull all its own.” The Guardian awarded Dysnomia with four stars, praising the record “as menacing as it is meditative… sounds like nothing else right now and listening to it is to experience a very welcome warping of time.” Pitchfork called the album “something totally unprecedented,”highlighting the track “Nix” as “a transfixing study in rhythmic obsession that sounds like the needle got stuck in the groove of an acoustic Can jam,” while XLR8R noted the cut “utilizes a deceivingly simple groove upon which Dawn of Midi attaches plenty of depth for those who listen closely enough.”
Following 2010’s improvised debut First and their free, aptly-titled EP Live, Dysnomia is in many ways the first record that truly reflects the trio’s critically acclaimed live show, resulting in their most mesmerizing work yet. Mixed by Rusty Santos (Animal Collective, Owen Pallett, DJ Rashad), Dysnomia stands as a test of endurance and trust that involves bassist Aakaash Israni, pianist Amino Belyamani and percussionist Qasim Naqvi performing their compositions note-for-note without ever appearing the least bit predictable. If anything, Dawn of Midi’s sets are as red-blooded and rhythmic as a seamlessly mixed DJ set, casting spells on crowds in the same way the group’s favorite experimental and electronic acts have for decades.
Having met during their studies at CalArts and hailing from diverse cultural backgrounds, Dawn of Midi is now Brooklyn-based and touring open-minded markets worldwide. As carefully cultivated as their aesthetic is, it’s also been known to incorporate, willfully and otherwise, such wildly divergent influences and interests as Aphex Twin, the Police, Can and Ms. Pac-Man. And when they really fall for a record-like they did with Dr. K. Gyasi after hearing his highlife hooks in Berlin-it quickly raises the bar of what they want from their own music.
The 46-minute cut is a brooding balancing act between a fascination with structure and a desire to create their own definition of dance music. Set aside an hour to experience the multi-movement title track in full and you’ll hear what we mean, as a language only Dawn of Midi truly understands locks into one long, seemingly endless groove and mixer Rusty Santos makes sure every last high-wire hook hits you square in the chest, even the quiet parts.
“It’s interesting with this piece,” says Naqvi. “There’s actual music in the silences. You could almost take the negative space and make something completely different with it.”
“The spaces between the dialogues of the notes are filled in by the body of the listener,” adds Israni, “and they complete the circuit, leaving one option-to dance.”