Dysnomia [CD]

"A transfixing study in rhythmic obsession" --Pitchfork "Cannot urge you more strongly: go see Dawn of Midi." --Sasha Frere-Jones, The New Yorker "Seriously never seen anything like these guys." --Jad Abumrad, RadiolabChanneled madness -- the sound Dawn of Midi spent years shaping culminates in their most mesmerizing work yet. With Dysnomia, the Brooklyn-based group abandons improvisation in favor of composition, utilizing sophisticated rhythmic structures from North- and West-African folk traditions to weave a sonic tapestry of trance-inducing grooves. "We didn't want to create anything cerebral," says pianist Amino Belyamani, "we wanted something visceral, something that would awaken our instinctive dance impulses." The manner by which a trio of solely acoustic instruments ends up sounding like electronic music has to do with the unconventional ways the group play their instruments on Dysnomia. The record comes to life in the trio's critically acclaimed live shows, a test of endurance and trust that involves performing their hand-looped acoustic minimalism note for note, just as the compositions were recorded. Dawn of Midi's sets are as energetic and rhythmic as a seamlessly mixed DJ set, mesmerizing fans in the same way the group's favorite experimental and electronic acts have for decades. The album was recorded to two-inch tape at Waterfront Studios in Hudson, New York, a former church that was purchased and transformed into an analog recording playground by the great engineer Henry Hirsch. Rusty Santos then mixed the album to make sure it would hit as hard as the group's favorite electronic albums do in spite of being entirely acoustic. "We wanted to make a record that sounded both musically futuristic and sonically vintage," explains bassist Aakaash Israni, "and since the album never saw a proper international release, it is very exciting to see what might happen when more people are exposed to it. And to be aligned with Erased Tapes,