Martin Dosh breaks his silence on The Lost Take. For two albums, the Minneapolis-based multi-instrumentalist let his immaculately glued-together, technicolor collages of keyboard and drum loops - culled from a vast library of such things - do all his talking. On The Lost Take's "Everybody Cheer Up Song," Dosh sings for the first time on record. And what he has to say may shock you; more than likely, though, it won't.   Full text...

In general, The Lost Take accentuates the inherent contradiction more decisively than Dosh’s debut. It’s intimate, yet professional; calculated, while embracing intangibles.  Full text...

At last, he's made an album-- The Lost Take-- that's worthy of such sincere and intimate affections and communicates them with consistent clarity.  Full text...

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.  Full text...

The Lost Take juggles jazz-school drumming so richly complicated you'll probably need to be a working musician just to understand its subtleties. It messes with Fender Rhodes melodies that sound stuck halfway between space camp and art school. Dosh slathers on improvised drumming learned, at least partially, by following The Grateful Dead around.  Full text...