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The Lost Take

Dosh

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Album Review

Despite its Anticon home, there's nothing hip-hop — nor has there ever been — about Martin Dosh's third full-length, The Lost Take. By inviting musicians like Andrew Bird, Jeremy Ylvisaker (from Fog), Michael Lewis (from Happy Apple), and Erik Appelwick (from Tapes 'n Tapes) to play on it, Dosh set himself up nicely for creating more of what's he's always done: something resembling an experimental, jazz-influenced record that toys with elements of electronica and indie rock, and loops organic and sampled riffs into a near soundscape of layers and warmth. Dosh, who daylights as a drum teacher, wraps eighth- and sixteenth-note keyboard riffs into one another, pulling back or adding more when necessary, but never, thanks to major keys, does the subtlety in the mixing, the overall lightness of the chords, come across as heavy or intense. However, because The Lost Take is mainly instrumental, that formula can become a bit predictable, and a little too nice, a little too pretty at times. Luckily, Lewis, who plays jazzy saxophone riffs that are catchier than the often-rambling ones Dosh chooses, helps to bring individual character to the four songs he's featured on; songs like "Um, Circles and Squares," which has a techno-inspired synth line, slowly poignant violins, and a gentle yet bouncy saxophone. It moves quickly, but there's something very deliberate about it as well, the same can be said about "O Mexico," which uses Appelwick's guitar to create a more purposeful groove that drives the piece along and offsets the relative calmness of the rest of the record. In terms of what Dosh has always done, The Lost Take isn't drastically different: it's experimental instrumental music that hesitates to adhere itself too firmly to any categorization, but it's a consistent and interesting release nonetheless, and probably the best of his career.

Customer Reviews

If you like Ratatat or Postal Service...

I can't believe no one else has written a review for this album yet. Even two years later, I believe this band deserves to be known. Innovative and smooth, Dosh does extremely well blending catchy rock rhythms with synth drives, especially in songs "Mpls Rock and Roll" and "O Mexico". I would describe this album as innovative and intriguing. This sound is different, which is a difficult sound to pull-off effectively in any genre, yet Dosh was successful in his endeavor to be unique.

Dosh=Awesome

Dosh’s The Lost Take is an incredible work of art. His drumming throughout the entire album is so solid and provides a unique base to his somewhat electronic experimental work. At first, it might sound a little bizarre but after a while its guaranteed to not leave your cd player for years. Buy the whole thing for the total experience but if you’re being crazy thrifty at least get Um, circles and squares, MPLS Rock and Roll, and the Lost take.

Quite Beautiful Indeed...and Fun

MUlti-textural layers of lovely blending of the organic with the electronic all together resulting in a sublime sonic soundscape. Well done!

Biography

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
The Lost Take, Dosh
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