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Erased Tapes have made a name for themselves for being the go-to label for avante-garde and minimalist composition. Each of their artists has finely crafted a form of technical introspection that is both beautiful and rich with subtext. Peter Broderick, Douglas Dare and the label's poster-boy Nils Frahm are perhaps the imprints' biggest names, but delve beneath the surface hype and into their roster and you can find other gems that gleam just as bright. Dawn of Midi is one of the newest jewels in Erased Tapes' crown. Bassist Aakaash Israni, drummer Qasim Naqvi and pianist Amino Belyamani met while studying in LA. A friendship generated over games of tennis, culminating in recording together in blacked-out rooms in order to remove the distraction of sight.

Their debut LP, Dysnomia, is the result of such sensory-deprivation. While its fit in the gigantic pigeon-hole labelled Composition is a loose one, it plaits together an entrancing concoction of North and West African folk, accompanied by a little splash of jazz. The total effect is hypnotizing. Each of the nine tracks flows seamlessly into one another yet each is discernible enough to be called its own entity. The instrumentation is about as intricate as you can get, each individual piano or bass pluck distinguishable from the next. This precision makes Dysnomia feel like the inner-workings of an old brass pocket watch, every individual cog and spring consumed with purpose and cause.

Such is the emphasis on the separate constituent parts, what Dawn of Midi have done is make acoustic music that sounds like it was made on a computer. A big give-away, however, is the analogue warmth that douses the album's rhythmic core.

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