Dosh’s sound expands

Martin Dosh, known simply by his last name on his solo releases, is known for crafting a mixture of electronica and rock with clever beats and fascinating textures. His newest release “Tommy” utilizes a more varied palette, although that sets the album up for uneven stretches.

“Tommy,” which has no connection whatsoever to The Who’s classic album of the same title, opens on a strong note with “Subtractions.” The track starts with percussion, which gets the groove started immediately. On “Number 41,” Andrew Bird shows up to provide vocals and violin. Unfortunately, once the vocals arrive, the song starts to sound like a track off the most recent David Byrne-Brian Eno collaboration (i.e., not very interesting).

The album suffers from sequencing choices; the best tracks are at the beginning and end, and the progression toward the middle reveals weaker songs. That unevenness can be forgiven with “Gare de Lyon,” the final, longest and most fully realized track.

Even though “Tommy” drops off toward the middle, it’s still a compelling listen from start to finish.