It’s the way I like my noise rock; fast paced, percussive, and maintaining just enough structure to pass for actual songs. -Poptartssucktoasted

Dinowalrus definitely psychs you out, and occasionally bursts into face-peeling shred, but what it really comes off as is a pre-Perestroika Krautrock broadcast picking up pirate AOR-and-disco playlists from some buried offshore wire, and then rocking that shit backwards in really tight pants. It’s pretty great. -Ben Lasman, NY Press

Dinowalrus actually makes sleek music from the future that simultaneously shares a lot of roots with early New Order, Brooklyn spazz-prog 2008, psychedelics abusers, and the dreams I had last night about manatees. It’s all adhered together with Spaceman 3 era reverb. -Impose Magazine

Dinowalrus is a three-person drum n’ drone band out of Brooklyn, NY.  Its current live incarnation began 2006, when Pete and Kyle met while simultaneously attempting to stalk Andrew WK at a “To Live and Shave in LA” show.  As an experimental noise/glam recording project, it goes back to 2003.  Josh fell off the boat from Belgium and onto the drum throne in late 2007.

In an attempt to capture some of the spontaneity of their improvisational instincts, retain the complex spatiality of their recorded experiments, and transcend the limited sonic palette that plagues most three-piece bands, Dinowalrus re-invents their instrumentation with every song. Some tunes feature dueling Lee n’ Thurston guitar interplay between Pete and Kyle, some feature Kyle frantically playing the bass, sampler and synthesizer simultaneously, and others revolve around Josh drumming toe-to-toe with a booty-licious electronic beat. The band relies heavily on the use of self-sustaining electronic devices topush its sound into cosmic brain-melting freakouts, lush atmospheric haze, and/or juvenile twee-skronk.  These devices include an optical theremin, a sampler, and a 1983 Roland analogue synth named Marc Bolan.

Their recordings are didactic experiments in infinite reverb, uber- and anti- “dance-ability”, delay-treated xylophones, dime-store voice changers, deep-fried drum machines, pop- neo-orientalism, layered fuzz, and layered haircuts.

In the last year, Dinowalrus has tirelessly played over fifty shows around New York City at venues ranging from well-loved underground art lofts such as Death By Audio and Silent Barn to esteemed clubs including the Knitting Factory, Mercury Lounge, Cake Shop and the Music Hall of Williamsburg.  They have shared the stage with notable noise-punk luminaries including Health, Titus Andronicus, These Are Powers, The Mae Shi, and Parts & Labor.  They also had a chance to play the Halleluwah Festival at the Knitting Factory with their late-60s dance-drone idols, The Silver Apples; and the blogger-curated After the Jump Fest at the Music Hall of Williamsburg with Ponytail, Chairlift and more.