Contrary to popular belief, and what your ears may tell you, the songs posted on this blog were not recorded by Fleet Foxes, but rather one dude who impersonates Fleet Foxes using overdubbing and lots of reverb.

Oslo based. Party focused. Putting the "n" into Rock 'n' Roll. Oh and we have a new record coming called "Summer 1998", created entirely in quarantine. And a podcast. Just go to www.casamurilo.org you'll find out everything there.

New album Dr. Dog out now!
https://linktr.ee/drdogmusic

Channelled madness – the sound Dawn of Midi spent years shaping, culminating into their most mesmerising work yet

With Dysnomia, the Brooklyn-based group Dawn of Midi abandons improvisation in favour of composition, utilising sophisticated rhythmic structures from North and West African folk traditions to weave a sonic tapestry of trance-inducing grooves. From close up one may see only dots, but when stepping back an undulating image reveals itself. “We didn’t want to create anything cerebral,” says Belyamani, “we wanted something visceral, something that would awaken our instinctive dance impulses.”
Having met at California Institute of the Arts in Los Angeles in 2006, bassist Aakaash Israni, pianist Amino Belyamani and drummer Qasim Naqvi found their original rapport through late night tennis matches on the campus court. The chemistry they founded there eventually led them back indoors to improvise together; something they did in total darkness to deprive themselves of all their senses except the crucial one – their hearing.
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, mesmerising fans in the same way the group’s favourite experimental and electronic acts have for decades.
The album was recorded to 2-inch tape at Waterfront Studios in Hudson, New York - a former church that was purchased and transformed into an analogue recording playground by the great engineer Henry Hirsch. Once the band visited the studio and met Henry, an expert in analogue recording equipped with a vintage Helios console, 16 and 24-track tape machines and a superb collection of microphones, it was obvious they had to record there; it was miles ahead of anywhere else they had visited. Rusty Santos then mixed the album to make sure it would hit as hard as the group’s favourite electronic albums do in spite of it being entirely acoustic.
“We wanted to make a record that sounded both musically futuristic and sonically vintage,” explains 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, whose enthusiasm for the music they release has done a lot for exposing unique instrumental and electronic music, makes it that much more interesting.”

Dysnomia will be released worldwide on June 1st, 2015 through Erased Tapes – available on 2x LP, CD and Download.

pre-order our new album: www.namemusic.no/pilogbue
release date 29.01.2016
Booking Europe:
adriaan@fullspectrum.nl

Booking Norway: 
eivind@amber.no

Pil & Bue (pijl en boog/ arrow & bow) is a norwegian two-piece. In February 2013 they had their first jam, seconds later they had formed a band. In July they spent two days recording their debut album,«Push Start Button» (release date 31.01 2014). 
Their Second single 'You Win Again' is featured in the movie 'Dead Snow: Red vs. Dead' that premieres at the Sundance Film Festival January 2014.

The sound of Pil & Bue is raw and melodic with a twist of darkness. Topics are memories, childhood, aspirations, use of imagination, video games. Influences comes from everywhere; Metal, Jazz, Michael Jackson, Sigur Rös, Greece, Mandela, Nintendo, Radiohead, dogs, parents...the list goes on..
Their first ever live appearance was awarded with 6/6 in the local press.

Pil:Vocals / Baritone guitar 
Bue: Drums

Inca Peak is the first in a possibly endless series of records, each one unique in its design and totally organic in its creation. It started with an idea and a concept that came to inspire the project: a self contained narrative for a record, starting at the moment of death and within 5 songs named "Inca Peak". Tied into this was the artwork, lyrics, melody and instrumentation, with each musician, technician and artist all contributing their interpretation of the piece.

The process was sequential - with each musician contributing in turn, there were no rules and no filter; just a blank canvas, inspiration from what came before when your turn was around and the artist´s own instinct. That the record is so cohesive and effective is a testament to those involved and the quality of the ideas.

Peter-John de Villiers - guitar, keys, beats, structures
Timothy Newton - drums, percussion
Timothy Edgar - Bass, Keys
Chip Johnson - vocals
Michelle DaRosa - vocals

Mixed by Greg Giorgio at Tarquin Studio. 
Mastered by Michael Fossenkemper at Turtle Tone Studio.
Drum Engineering by Stephen Nichols at Elyzum Studio.
Michelle DaRosa's vocal engineering by Deck Delucy at Leftbank Music.

INCA PEAK is following