Multi-instrumentalist Martin Dosh's latest release, Tommy, is at times as vulnerable as a teardrop and as deafening as a skinned tiger. Like an ambitious juggler, the Minneapolis-based artist seems to delight in throwing an occasional genre into the act — and a few chainsaws, a Fender Rhodes, marimbas, and pots and pans for good measure. However, his unrelenting forays toward polyrhythmic pop loops and tics are not just an attempt to awe those with refined math-rock sensibilities, and his work retains a refined grace that has the rare ability to connect with novice listeners and jaded critics alike. It is fitting that his father, who was a Catholic priest, and his mother, who was studying to be a nun, left the fold to raise a family. Thank the instructions of DNA to go against the grain or the social context that nurtured his openness with music and different perspectives. At the end of the day, when Dosh takes the stage, people will hear a sermon of sound that is familiar, daunting, and completely honest in its attack.