ARTICLES
Ten Questions: Fat Jon
MUTEK 2006

ALBUMS
65daysofstatic
A Cloud Mireya
Ambarchi and Ng
Another Elec. Musician
Derek Bailey
Band Ane
Barzin
Black Gold 360
The Blow
Boduf Songs
Childs
Darc Mind
Dosh
Duopandamix
Fat Jon & Styrofoam
Liam Gillick
Shuta Hasunuma
Tim Hecker
Ilkae
Jack's Son
Richard Jäverling
Jazzkammer
Junior Boys
Last Days
Hanno Leichtmann
Luomo
Mandelbrot Set
Mountaineer
N.Phect & Dizplay
Part Timer
Karsten Pflum
Benoît Pioulard
Plus Device
+/- {Plus/Minus}
Relay
Saroos
Seht
Shedding
So Percussion
Sybarite
Trio Vopá
Marshall Watson
Weather Report
Donato Wharton
Christopher Willits
Xela

COMPILATIONS/MIXES
ESL Remixed
Four Tet
Garnier & Craig
Ginglik Saturdays
Michael Mayer
Henrik Schwarz

3"/7"/10"/12"/EPs
Colleen
Delano and Xpansul
Detritus
Ed Devane
Eskimo
Feathers
Goldmund
Ezekiel Honig/Graphic
Ezekiel Honig
Eliot Lipp
Robert Lippok
Alejandro Lopez
Evan Marc
Porter & Carr
Sebastian Russell
Somone Else
Spaceships & Pings
SplitEP3
Simon Whetham

Dosh: The Lost Take
Anticon

Dosh + Anticon = grungy hip-hop packed with verbose rapping? Try again. Martin Dosh's third full-length, The Lost Take, has more in common with the sunkissed pop stylings of F.S. Blumm and Wechsel Garland than the urban grime of Ghostface and Madvillain. Abetted by a large crew of guest musicians, including Andrew Bird (his violin a key presence throughout) and Tapes'n Tapes Erik Appelwick (whose guitar gives the epic burner “Mpls Rock and Roll” a distorted punch that's welcome in this generally well-behaved context), Dosh presents 12 episodic mini-symphonies filled with intricate weaves of strings, glockenspiel, synth, saxophone, and piano melodies. Even so, drums are the nucleus of his sound; pulsating with a vigorous snap and robust punch, his breaks are the life force powering the songs forwards.

Despite the songs being three-minute vignettes, Dosh's jittery material includes so many twists and turns and stop-start passages, the effect is sometimes as dizzying as a sugar rush: vibes and strings float atop rambunctious, loose-limbed drum patterns in “One Through Seven” while “A Ghost's Business” shadows staccato piano and violin treatments with extended clarinet tones and “Unemployed Blues” features an exploding fireworks display of drums, fuzz guitar, and violin. Still, including so much rapid-fire detail guarantees that the ride's always picturesque but including a languorous moment or two would add contrast. Even when the mallet clusters and Rhodes melody suggest “Bottom of a Well” might offer a rare moment of contemplation, Dosh can't resist injecting boisterous splashes of marching drums and guitars. “Everybody Cheer Up Song,” on the other hand, is rendered more memorable for the pop warmth its gentle weave of electronic beats, vibes, and strings cultivates.

November 2006