Boomkat Product Review:
Tommy represents a major step up for Anticon stalwart Martin Dosh. The producer has authored a succession of highly praised instrumental albums, beginning with 2003's eponymous long-player consisting chiefly of songs based around rhodes piano and drumming. The sounds captured for Tommy just go to prove how far Dosh has come since those early days. The debut remains an enjoyably scratchy old thing, and it's held up well over the years, but the scope and fluency of Dosh on Tommy is something to be hold. 'Subtractions' seems like an ironic title for the bustling opening track, stacking layer upon layer of interlocking, repeating phrases like a jazz-rocking Philip Glass, or perhaps a slightly grubby Jaga Jazzist. Dosh enlists long-term collaborator Andrew Bird to great effect on 'Number 41', where meticulously sliced hip-hop drums crunch along to shimmery Hawaiian-style pedal steel guitar, florid keys and a strong vocal. After exhibiting this sort of single potential the album soon proceeds to venture down slightly more out-there avenues, yielding results such as the reclining swingtime of 'Loud', the warped, easy-listening tinged boom-bap of 'Airlift'. Resuming vocal duties, Andrew Bird crops up again during 'Nevermet', a somehow watery piece that loosely slots beats together whilst filling up different corners of the mix with spaciously panned instrumental clips and oddball electronic snippets. Tommy concludes on the eight-minute tour de force 'Gare De Lyon', which finds the producer slipping into his drummer role with a little more carefree abandon, showing his chops and stretching his legs over the course of a cluttered, increasingly manic motorik assault. A ceaselessly lively affair, Tommy charts Martin Dosh's one-man-band routine ascending to new levels of sophistication, lodging him right up there at the top of his field with like-minded souls Four Tet and Caribou.