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Album Review

Martin Dosh describes the minimal, repetitive soundscapes he assembles as post-rock, a genre that's as vague and inclusive as the music he makes on Tommy. (The album has absolutely nothing in common with the Who's album of the same name, in case you're wondering.) The pieces here — it's hard to call them songs or tracks — are almost ambient, but there's too much noise and too many shifting sounds to keep you from spacing out for too long. It could be called space music, but it eschews the soothing sounds associated with that genre. Maybe you could call it music from the heart of a black hole, a thick sonic stew that can shift from compellingly rhythmic to playfully experimental to annoyingly harsh. There is more singing here than on most of Dosh's other albums, but the results aren't actually songs as such. Scatting voices, skittering keyboards, and what sounds like a toy piano swim through the vaguely African rhythms of "Subtractions." A vocal that sounds like a distracted child making up a "song" weaves in and out of the dense layers of percussion on "Town Mouse" accompanied by random sax squeaks. Andrew Bird sings on "Number 41" over ambient steel guitar, a thumping almost-rock rhythm section heavy on the bass, and occasional acoustic guitar. It's as close to pop as the album gets. The drum'n'bass excursion of "Yer Face" has woozy mostly unintelligible vocals, but it's charming nonetheless. Bird also contributes vocals to "Nevermet," but again they get buried in the thumping mix of bass, acoustic guitar, and drums. The instrumentals include "Loud," with a linear piano line and effects that create the feeling of a big dark echoing space; "Airlift," with its choppy beat and long, sustained keyboard notes; "Country Road X," which sounds like an electric piano floating through a '70s airport lounge in the mid-afternoon; and the disc closer, "Gare de Lyon," the most unique and annoying track on the disc. Drums that sound like a real drum kit played in real time clash with piano tinkles and processed space noise, slowly building to a rush of processed sound before subsiding to a rocking minimal bassline and a guitar bashing out distorted metallic chords. ~ j. poet, Rovi

Customer Reviews

Dosh be doing work

In the same week I am able to pick up this album (which I must say I am enjoying greatly), and be able to witness some of these tracks performed by the master himself. This album does what any other band can hope for in a new release: The ability to capture what that band/artist does best. And for Dosh, he definitely allowed me to throw on my headphones, and just replay 'Tommy' over-and-over again with a smile on my face. If you have been a follower of Dosh, you gotta pick up this album. I gotta say I was hesitant at first, but with tracks such as "Town Mouses" and "County Road," it reminded me of what Dosh is capable of: making great music.

Great sound(s)

WOW! Never realized just how fun this type of music was until I saw Dosh live at the MInnesota State Fair one night! He virtually mixes a series of progressions and rhythms until the sound builds into a wild ride that takes your mind to places you didn't know exist! I will be exploring more work by this man and his bandmates. Very Fun!


An amazing artist! Such a beautiful album! Dosh is also fantastic on stage. There's so much creativity and emotions packed in these songs. I'd encourage anyone to go see him.


Born: September 6, 1972 in Minneapolis, MN

Genre: Electronic

Years Active: '00s, '10s

Martin Dosh was born to an ex-Catholic priest father and an almost-nun mother outside Los Angeles; he and his family moved back to his parents' native Minneapolis when he was just a toddler. By age three, Dosh had started piano lessons, which he continued until 11, then picking up the drums when he was 15. The next year he moved to Massachusetts to attend music school, tooling around on the East Coast until he eventually returned to his parents' home in 1997 when he was 25 (he had since picked up...
Full Bio
Tommy, Dosh
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Customer Ratings