Thristy Ear Recordings is thrilled to debut “Nix,” off Dawn of Midi’s upcoming sophomore full-length Dysnomia, out August 6th, 2013. XLR8R premiered the track, noting it “utilizes a deceivingly simple groove upon which Dawn of Midi attaches plenty of depth for those who listen closely enough.” The fourth track on the through-composed Dysnomia, “Nix” is available for posting HERE. Additionally, the Dysnomia album trailer is available for posting HERE, giving a glimpse into their unique process.
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.
Hence how Dysnomia ended up being recorded, mixed and mastered in its entirety twice. As Israni explains, “Late one night, I realized the record we had just made wasn’t the quantum leap we needed, so we started over. Then it was another year and a half of rehearsing and composing before we could go in the studio again.”
It shows. While the original version was semi-improvised like the trio’s critically acclaimed debut (2010’s First), the final 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.”