REVIEW: Doss - Doss

Finding the words to describe Glasgow duo DOSS is a difficult job; their genre-blending style combines distorted rhythms, ambient electronics, and a dash of social commentary into something fresh and unexpected. They’ve played shows alongside the likes of DEADLETTER and FAT DOG, and soon, they’ll be putting out their self-titled EP DOSS. It’s fittingly titled: when you think ‘DOSS’, you should think this EP.

Starting off the record in an incredibly ominous fashion is PREFACE, featuring a low, spoken-word intro against a fuzzy drone backdrop that sends unease running down our spines. It’s two parts horror-movie score, one part ETHEL CAIN. The spoken-word elements continue into YOUGOTSTYLE, establishing what we expect to be a recurring thread here. Low, almost melancholic guitar strums start as an anticipatory ripple that rolls into a steadily-ramping drumbeat, before a barrage of electric shredding leads us into the maelstrom of this groove-laden instrumental storm. Sorley Mackay’s vocals are downright deranged, a violent catharsis in the way he yells “You got, you got, you got style!” This is a track that doesn’t let up easy. Even in the small moments of respite, those slower seconds where Mackay turns from a shout to a whisper, we can tell it won’t last; Chilton Fawcett’s drumbeat is roaring thunder on the horizon.

BIGFELLAFUNK follows, living up to its name already with a smooth, jazzy introduction. Mackay paints a strong portrait of our protagonist: a laid-back, easygoing man. He’s the man in charge, top of the totem pole, making all the calls. Confident and assured. The musical narrative is impressive; we almost buy this image, until that image shatters for just a few seconds. The one-two drums and the rhythmic vocals give into a rapid, chaotic melding of noise like a snarling frenzied dog, and quickly revert back to the status quo, as if nothing had ever happened. It’s a persistent trend, each break increasing in intensity as the track goes on. It’s very American Psycho, putting on a facade of nonchalance to hide the ticking of a mental timebomb.

https://www.youtube.com/watch?v=nJvxnvV-Y-g

This criticism of those in positions of power continues into SUPERSECRETAGENT, though in a slightly different manner. Here, DOSS kick off with egg-punk riffs and quickfire vocals, bringing a lighter, earwormy edge to a subject more serious than its musical stylings. Mackay sings about surveillance and conspiracies. Paranoia that isn’t entirely unfounded, as evidenced by one of their inspirations for the track: the case of Willie McRae, a politician and activist whose alleged suicide they make reference to. They bring humour to their social commentary in true Glaswegian style, with biting satire and energetic instrumentals. HOWDYPARTNER brings something deeper to the table: a weariness about this never-ending rat-race the world has become. "It goes round and round and up and down and you don’t speed up and you can’t slow down,” Mackay sings. It’s somewhat depressing, these ruminations on a slow, meaningless death in a world driven by consumption and the endless climb on the ladder of success. Your possessions mean nothing; you can have everything you’ve ever wanted, but you’re still leaving this life alone. Bit of a downer ending, but it does leave us thinking.

That’s what the Glasgow outfit do well: serve up platters of commentary and social theories and leave them at the table for us to pick apart and dissect. DOSS’ talent runs deep and between the lines. On the surface, we’re beholden to distorted rhythms, high-octane drum-pounding, and smooth, jazzy melodies that make this record one worth spinning. Lurking below are the satirical ruminations on society and its residents that earn it a spot in permanent rotation.

Score: 8/10

Doss will be released on May 29th 2026 via Alcopop! Records.

Words: Naomi Colliar Duff

Photos: Mark Anthony Gilles