A drummer and Rhodes keyboard player for Fog, Martin Dosh released his self-titled debut album several years ago and hasn't looked back since, putting out another full length and an EP quickly on their heels. The Lost Take is his third full-length album to date and possibly his most expansive yet, featuring a slew of guest performers (including Andrew Bird), a couple songs with vocals, and some of his best music to date.
Dosh has always been one to not let genre boundaries get in his way, and he blows things apart even further on this twelve track, forty-minute release. His live shows have found him perched on a swiveling stool, shifting around between Rhodes, synths, and drums, building songs out of thin air with a loop pedal and some slight of hand, and his releases have someone followed suit. The Lost Take works on that same premise (albeit in a much more developed form), with tracks taking shape in a sort of loop-based way, with elements dropping in and out of the mix and weaving through spellbinding sections without ever making huge leaps. There's a touch of jazz, a bit of instrumental hip-hop, and a sunkissed quality to the release that makes it sound like something that might come from southern California rather than the twin cities in the midwest.
Every song on the album has plenty of moments and some are flat out mindbending in how they progress. "Um, Circles And Squares" is a gem, with layered percolating synths, chimes, a propulsive beat, and some violin strains from Bird see sawing through the mix. "Ship Wreck" features both Dosh his wife Erin on vocals, and the track is absolutely stunning, mixing a subtle layer of guitar fuzz with some jangling piano, glittery chimes, and some chunky beats that rumble nicely without ever getting overbearing.
The Lost Take is truly one of those albums that you could play for twelve people and get everyone picking a different favorite track. "Mpls Rock And Roll" starts out with a warbling layer of analogue synths before turning into a more indie-rock sounding track, but even then the song unfolds with some great surprises as some insane snare rolls and pinging keyboards fight for as much time as the guitars. It's best to just sit back and let Mr. Dosh take you on a journey through his playful musical mind, and when he slams together such gorgeous juxtapositions of sound (as on the hazy, nostalgic "O Mexico"), it's best to just bob your head along and not fight it. Minneapolis is known for their cold winters, but this is the sort of joyfull release that can melt away the snowfall pretty quickly.