Stats for this track
In 87 Sets
- 3 Tracks, 55.02
- 10 Tracks, 52.00
- 39 Tracks, 4.04.35
- 2 Tracks, 6.36
- 2 Tracks, 10.35
YOU CAN HEAR DYSNOMIA IN ITS ENTIRETY AT THE BANDCAMP LINK BELOW, PLEASE CONSIDER SUPPORTING THE 2 YEARS AND 30K WE SPENT ON IT BY BUYING THE LOSSLESS WAVS OR VINYL!
READ THIS NEW YORKER ARTICLE ON WHY SPOTIFY IS MAKING ALBUMS LIKE THIS IMPOSSIBLE: bit.ly/sptfymusician
See how we're doing this (it's completely acoustic!) :
2LP Vinyl AVAILABLE HERE: www.dawnofmidi.com
Dysnomia T-shirts, First CD, Live EP
" Something totally unprecedented " - Pitchfork
" Best Albums of 2013 " - The New Yorker
" 50 Favorite Albums of 2013 " - NPR Music
" Best of 2013 " - BBC 3
" Stellar...at a loss for words " - SPIN
" Perverse in a good way " - The New York Times
" Sounds like something completely different " - NPR
" Moving and addictive...a feat of innovation " - Interview Magazine
" Cannot urge you more strongly: go see Dawn of Midi " - Sasha Frere-Jones, The New Yorker
" An unplugged translation of contemporary electronica...state-of-the-art. " - Time Out NY
" Seriously never seen anything like these guys " - Jad Abumrad, Radiolab
" It sounds like nothing else right now " - The Guardian
" a mysterious, vital sound with a pull all its own " - Los Angeles Times
Dysnomia Album Trailer: www.youtube.com/watch?v=-YaVKryEzPo
Pitchfork : pitchfork.com/reviews/albums/183…-of-midi-dysnomia/
Interview Magazine : http://www.interviewmagazine.com/music/dawn-of-midi-dysnomia/#_
Rolling Stone : www.rollingstone.com/music/news/alg…e-mp3-20130626
The Believer Magazine 2013 Music Compilation : www.believermag.com/issues/201307/?…=notes_simonini
"Nix," off Dawn of Midi's 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 gives 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 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."