Dosh

Oy, yet another single-named electronica guy? And why exactly should you care? Chiefly because the Minneapolis-based Martin Dosh, also part-time member of Fog and Lateduster, is a multi-instrumentalist who approaches sampling and electronics as a composer rather than as a conceptualist or DJ. Dosh doesn't merely slice and dice others'...

By Mark Keresman

February 22, 2007

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Oy, yet another single-named electronica guy? And why exactly should you care? Chiefly because the Minneapolis-based Martin Dosh, also part-time member of Fog and Lateduster, is a multi-instrumentalist who approaches sampling and electronics as a composer rather than as a conceptualist or DJ. Dosh doesn't merely slice and dice others' finished products; he samples from pals such as violinist Andrew Bird, saxophonist Mike Lewis of punky jazz group Happy Apple, and steel guitarist Jeremy Ylvisaker. The music here is practically all Minneapolis-based, but at least Dosh represents his hometown well. He's good at assembling layers of live instrumentation and evolving them into inviting, warmly tuneful mini-symphonies. That sounds complicated, but the delicate arrangements on "Bottom of a Well" are a prime example of this technique. Dosh also weaves in actual melodies and jazz undertones into his tracks that, unlike many electronic LPs of this millennium, help bring a historical completeness to the album. Jump over to a song like "Um, Circles and Squares" and hear how Dosh balances out rhythms that never dominate the soundscapes underneath them. For these reasons, The Lost Take is one of the more creative and humane slices of electronica currently in the marketplace.

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