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<!--2010041353-->Dosh - 'Tommy' [CD]
<!--2010041353-->Dosh - 'Tommy' [CD]
<!--2010041353-->Dosh - 'Tommy' [CD]
<!--2010041353-->Dosh - 'Tommy' [CD]

Dosh

Tommy

CD

$14.50
Product Details
  • Apr 13, 2010
  • Electronic
  • 656605741222
  • ANT101CD
  • 1.7 oz
  • new (we only sell new items)
  • Anticon
  • Andrew Bird
  • Dosh
Description
For his fifth Anticon album, Martin Dosh had two goals. First: Get loose. 2008's Wolves And Wishes took a step in this direction by way of its guests- freewheelers like Bonnie "Prince" Billy and Odd Nosdam- but Dosh records are well-known for their impeccable arrangements. To wit, Andrew Bird used Wolves And Wishes' "First Impossible" as the rhythm's backbone for a song on last year's critically acclaimed Noble Beat LP. (Dosh has been collaborating, recording and touring with Bird since 2005).

Dosh's second goal seemed to directly conflict with the first: Explore thicker terrain for his already seething soundscapes. More drums. More vocals. And new to the Dosh catalog, lots of low end. But instead of clutter, this unique brand of maximalist, rhythm-driven post-rock sweeps lilting beauty, serious beats and even airy moments into its comely whirlwind.

When Tommy begins, "Subtractions" is already in full swing. The song evolves throughout its four minutes, eventually resolving in Tortoise-y figures played out on an array of instruments. "Yer Face" opens on a loop, too, but quickly distinguishes itself via standup bass, syncopated keys, and a rare lyrical performance by Dosh. "Town Mouse" plays like a warm, wide-open jam session, with different drum kits coming from different speakers, Dosh humming throughout, and bandmate Mike Lewis's horns flying over fuzzy Rhodes blurts. "County Road X" tills different soil still, largely focusing on improvised piano and glistening atmospherics. Bird returns to lay his light twang over the heavy feedback wash of "Nevermet," while the bright epic "Gare De Lyon" slowly builds- for eight and a half minutes- to the album's close.

On this final song, Dosh stretches out immensely, nursing melodic sprawl through a tense percussive passage and on to a huge finish: an explosion of thrashing bass and drums that burns brightly before the record comes to a crashing halt. The abrupt finale fits Tommy, dedicated to and named after Dosh soundman Tom Cesario, a dear friend who unexpectedly passed two Christmases ago. Here, Dosh pays his respects as best as he can, coming away with a record inspired by tragedy, but undeniably full of life.
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