Qasim Naqvi is a Pakistani-American composer, better known for his owrk with Brooklyn-based trio Dawn of Midi. He announced the release of his first solo full-length. Teenages is out on May 3rd via Erased Tapes. Pre-order is available via Bandcamp “No Tongue” is the first excerpt. Listen below.

This album is one singular synergy between Qasim and his machine within a broader milieu of sound, also explored by contemporaries Sarah Davachi, Alessandro Cortini, Caterina Barbieri and also the forefather, Morton Subotnick. At points tonal, textural and rhythmic, over six evolving and growing audio organisms, the album flourishes upwards in stages, from initial micro-sonics to something bigger, brighter and anthemic.
This is Naqvi’s first non-soundtrack release, having previously established himself as a renowned composer for dance, theatre, film and installation-based art, not to mention his role as drummer in lauded trio Dawn of Midi.
According to Naqvi,  “my past releases like ChronologyPreambleFjoloy, and Film were made to accompany visual mediums. The music was always written to enhance another form. Teenages is the first album with its own motivating force. It’s a live multi movement work that I recorded for myself.”
I’ve always been drawn to the power of un-amplified acoustic music. And for me modular synthesizers are a natural progression forward from the acoustic realm into the electric. It feels like an orchestra comprised of very unusual instruments, and their orchestration and vibrational properties lie in the patching and flow of voltages through a system. They’re also unstable and they rarely play the same thing twice in any exact way. It’s almost organic and human. It was really important for this album to capture that kind of uninterrupted behavior.
Capturing a live feeling without the aid of heavy studio production was an important component to this release: “Even though this is ‘electronic music,’ I didn’t want to rely heavily on a computer with an array of plugins, loops and samples, or exhaustive editing as part of the writing process. I wanted to treat this work like a live piece of music and have the natural behaviour of the machine shine through and sound huge, like an orchestra of electrical signals.