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by Bootleg Al Just a few years ago the Anticon collective was on-top of the world. Continually hailed as the saviors of hip-hop, every publication wanted to cover them. Fast-forward to the present and you’d be forgiven for thinking its all gone tits up. Gone are the cover features and elated reviews, replaced instead with lazy journalism disregarding each new release as “just another Anticon record”. This however couldn’t be further from the truth. In the past 18 months Anticon have totally reinvented the game. Their eclectic roster now takes in everything from hip-hop, electronica and ambient, right through to folk, pop and even psychedelia. Following on from the rich collage of new releases from Why?, 13&God and Odd Nosdam, Anticon unleash the third and most accomplished full-length from Martin Dosh entitled The Lost Take. It’s a record of grandiose proportions that draws upon Dosh’s trademark mix of expertly arranged keyboards and infectious drum loops, stretched across the album like a canvas for rich improvised experimentation. It’s personal and expressive, a pure extension of his personality and desire, building complex structures of confrontational noise that are paradoxically wrapped up in beautiful perfect harmonies. The album is given its rich textural tapestry thanks to some well chosen collaborations; Erik Applewick (Tapes n’ Tapes) provides a plethora of static and full-blooded guitar work; Mike Lewis (Fog/Happy Apple) brings a rich saxophone composition that delicately balances Dosh’s first ever attempt at recorded vocals; and Andrew Bird offers a wide variety of violin loops that Dosh drenches in squelching bass-synth. It’s Dosh as the full band he’s always wanted to be. Rich,
emotional and cathartic, The Lost Take is Dosh’s most thoroughly
composed record to date. It’s the record Dosh always threatened
to make but never quite managed to deliver. It’s pure and sincere
and demanding of your affection. |
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DOSH
- THE LOST TAKE