ARTIST: Dosh
TITLE: The Lost Take
LABEL: Anticon Records
GENRE: Electronic
BITRATE: 204kbps avg
PLAYTIME: 0h 40m total
RELEASE DATE: 2006-10-17
RIP DATE: 2006-11-01
Track List
----------
1. One Through Seven 3:03
2. Everybody Cheer Up Song 3:17
3. Um, Circles And Squares 3:03
4. Ghost's Business 3:14
5. Ship Wreck 3:48
6. MPLS Rock And Roll 3:19
7. Fireball 3:20
8. Unemployed Blues 2:42
9. Pink Floyd Cowboy Song 4:07
10. O Mexico 3:50
11. Bottom Of A Well 3:16
12. Lost Take 3:28
Release Notes:
Note: The previous release was nuked for reencode from a 256kbps CBR source,
which is obvious if you take a look at the bitrates. Here is a proper CDDA
release of this fine album. Enjoy.
Martin Dosh's third album, The Lost Take, is irritating if you don't pay
attention. Each track begins midstream and suddenly takes off, dizzying
percussion and string loops leading the charge, melody unconsidered, style
sloshing substance, form over fever. It swooshes and shuffles and crashes from
all sides for a while until something called "Mpls Rock and Roll," at which
point Dosh, who just assumes we get it by now, backs up and starts from the
beginning, building and nurturing a hugely small mini-epic art-piece that
transcends most of the stuff you'll hear this year.
Anything before or after this moment represents a crushing letdown. Dosh is a
self-taught multi-instrumentalist who excels at farting around and squirming;
right now he's probably got three or four of these albums on his hard drive or
waiting to be pieced together from piles of tape reels sitting on shelves. Other
bedroom narcissists can wiggle off the hook. Daedelus, for example, gets away
with this kind of thing not only because he's better at it, but because he
doesn't try to steal your soul and feed it back to you in handfuls. Dosh
stumbles upon the impossibly beautiful, gets it, then goes back home to play
video games. It's a lot like Good Will Hunting.
The first half of The Lost Take is a slightly nauseating concoction of tuneless
dart-throwing; the second half fares better, but not much, and "Mpls," which is
smack in the middle, couldn't be more out of place, in a way that's both good
and bad. There Dosh is, straddling the ordinary and the truly divine, able to do
both (the ordinary more than the divine, in this case) and yet firmly committed
to neither. Three of the album's four closing tracks -- "Pink Floyd Cowboy
Song," "O Mexico" and "Bottom of a Well" -- each go to great lengths to
recapture the magical engagement displayed minutes (but which feel much longer)
earlier. It works, and that's what's so frustrating.