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Dosh, "Pure Trash"
Anticon
Fog drummer and Minneapolis native Martin Dosh invites us in for yet another foray into his personal life on Pure Trash, the followup to 2003's Dosh (both on Anticon). Using the same formula that made Doshso inviting—a drum kit, a deliberately broken Fender Rhodes and an armyof samples, some chaotic, some organic, others adulterated by effectspedals, all filtered onto a basic eight track recorder—Dosh waxesinstrumental over twelve tracks about marriage, childbirth and thelarceny of the aforementioned beloved electric piano. The onlyvocalizations are the occasional sample from Dosh's wife andco-procreationist (whose assertion that "being pregnant and having ababy is not weird" opens up the album), his new son Naoise (who lendshis name to the ninth track and a more or less complementary EP), orthe gaggle of schoolchildren that Dosh teaches at his day job. Dosh'smusic, emotional as it is, thrives on a blend of subtlety and orderover spontaneity, using his careful choice of instrumentation to conveyemotion, whether it is mourning for his stolen Fender Rhodes (the fifthtrack, "Bye Rhodsy," is such an elegy) or dwelling upon marriage (thesurprisingly mournful but eventually uplifting sixth track,appropriately titled "I think I'm getting married"). Through his music,one can almost see and feel Dosh worry, love, laugh and cry. The resultis genuinely touching and thoughtful, without ever bordering ontriteness or over-sentimentality, quite a feat with such personalmaterial.
Fog drummer and Minneapolis native Martin Dosh invites us in for yet another foray into his personal life on Pure Trash, the followup to 2003's Dosh (both on Anticon). Using the same formula that made Doshso inviting—a drum kit, a deliberately broken Fender Rhodes and an armyof samples, some chaotic, some organic, others adulterated by effectspedals, all filtered onto a basic eight track recorder—Dosh waxesinstrumental over twelve tracks about marriage, childbirth and thelarceny of the aforementioned beloved electric piano. The onlyvocalizations are the occasional sample from Dosh's wife andco-procreationist (whose assertion that "being pregnant and having ababy is not weird" opens up the album), his new son Naoise (who lendshis name to the ninth track and a more or less complementary EP), orthe gaggle of schoolchildren that Dosh teaches at his day job. Dosh'smusic, emotional as it is, thrives on a blend of subtlety and orderover spontaneity, using his careful choice of instrumentation to conveyemotion, whether it is mourning for his stolen Fender Rhodes (the fifthtrack, "Bye Rhodsy," is such an elegy) or dwelling upon marriage (thesurprisingly mournful but eventually uplifting sixth track,appropriately titled "I think I'm getting married"). Through his music,one can almost see and feel Dosh worry, love, laugh and cry. The resultis genuinely touching and thoughtful, without ever bordering ontriteness or over-sentimentality, quite a feat with such personalmaterial.
