To spark discussion, the Walker invites local artists and critics to write overnight reviews of our performances. The ongoing Re:View series shares a diverse array of independent voices and opinions; it doesn’t reflect the views or opinions of the Walker or its curators. Today, Dylan Hester shares his perspective on Saturday night’s performances by Dawn of Midi and Nils Frahm, a Walker co-presentation with the SPCO’s Liquid Music Series at the Amsterdam Bar and Hall in St. Paul. Agree or disagree? Feel free to share your thoughts in comments!
Dysnomia, the second full-length album from Brooklyn-based experimental trio Dawn of Midi, is a single suite made up of nine individual tracks. On paper, it’s avant-garde jazz informed by classical minimalism, a 47 minute record that works just as well in headphones as it does on a loud stereo. In person, it’s a stirring and immersive nine-part cycle.
Bassist Aakaash Israni starts, and Amino Belyamani joins shortly thereafter on electric piano. Both repeat one note over and over. Qasim Naqvi then enters with a bass drum, creating an off-kilter polyrhythmic structure. From here the band’s sound transforms further: it’s jazz, then funk, techno, math rock. At times, I’m not sure whether I trust my own ears.
As their final song (“Dysnomia”) grew softer, I thought I heard the sound of a low-quality cell phone video a few rows behind me. But I was wrong. Actually, I was only hearing the soft ambient chatter and bar sounds from the back of the venue. After spending an hour immersed in Dawn of Midi’s intricate rhythmic structures, my sonic palette had been completely jarred.
Berlin-based composer Nils Frahm‘s most recent work is Spaces, an album which juxtaposes the analog and digital, live and studio, acoustic and electronic. Though occasionally referred to as modern classical, it also touches on minimal synth, glitch, and even dub. It is a testament to his music’s versatility and precision that set opener “Says” also appeared on a recent mix by Swiss techno dj Deetron. Nils closed with “For–Peter–Toilet Brushes–More,” Spaces‘ seventeen-minute centerpiece which involves the use of toilet brushes as percussion. It won him a standing ovation.
The first time I encountered Nils Frahm was in a title of a song by his friend Peter Broderick. “Hello to Nils” is the last track on Broderick’s How They Are, an album that helped get me through my first winter in Minnesota. Nils’ music likewise helps to ease the melancholy and emphasize the transcendence of the winter months. He does not shy away from sentiment: at one point last night, he introduced a song from his Screws album as a “little bit cheesy” piece of music he wrote after breaking his thumb. But he played it with complete, moving sincerity. It was only appropriate that a fresh layer of snow had appeared outside by the time the show ended.
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