Trend-challenging, genre-moulding, Grammy-winning outsider music.

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In 2013, being singular is finally paying off for King Midas. “Rosso”, released in November 2013 in Norway and hitting international markets on March 1st 2014 (both through Fysisk Format), is an ultimate demonstration of King Midas’ uniqueness, quality and versatility, proved by a Norwegian Grammy victory in the Rock category as well as excellent reviews. Journalists in Norwegian publications haul superlatives – 6/6 in Aftenposten, Dagsavisen and Gaffa, 5/6 in VG, P3, Klassekampen, Natt&Dag, Bergens Tidende among others. In-depth analysises and interviews concerning the conceptual art that complements each of their albums beginning are to appear.

Though King Midas began in Oslo in 1994, one wouldn’t think so. ”Scandinavia”, released just before the millenium, went largely unnoticed. With “Romeo Turn” the music press finally gave them the attention they wanted, but the label going bankrupt prevented them from furthering their art pop/electronica/lounge-jazz/blues/psychedelia – in short terms, their little piece of cultural revolution – to the masses. For their fourth and fifth albums, “The Jaguars” in 2005 and “Sorry” in 2007, King Midas signed with Universal.

After six silent years, King Midas finally reemerged in 2013. King Midas left Universal for Fysisk Format and released their first single in 6 years there, entitled “Snow”, as well as reissuing the classic “Scandinavia”. The music press are at this point making up for all those years the band passed outside the spotlight. With 2013s monumental “Rosso”, King Midas are everywhere. They’ve been fighting the ruling trends since the start, when they dressed up in white uniforms and fascist armbands to go along with their enigmatic ”artrock” - in lack of a better phrase – during the heyday of shaggy flannel-wearing fuzz pedal-slaves. This independence has at long last piloted them to well-deserved recognition.