Review Round-Up #2

The second collection of media reviews for the album. To start things off, the first review for the single Andalucia.

Doves show that heaven knows they’re not miserable now

Since Joy Division and the Smiths, critics have married the words “Mancunian” and “miserablist”. From Elbow to I Am Kloot, it seems a northern soul is always a sad one, right? Wrong. Doves have always demonstrated that they can pen sky-reaching anthems, as their forthcoming Best Of album shows. New track Andalucia is no exception. “The world that we see, belongs to you and me,” sings Jimi Goodwin in a voice that soars higher than the clouds. It seems even heaven knows they’re not miserable now.

Debut Lost Souls remains an enduringly consistent piece of shadowy, orchestral rock, and it could’ve been well represented here by any of its tracks. Despite being posed as the darkness before The Last Broadcast‘s light, Lost Souls gets cherrypicked for its most emphatic numbers. “Catch the Sun” remains the strongest melody Jimi Goodwin has ever written, while the harmonica and guitar peals of the misty “Sea Song” exude a low-key ecstacy. Even the stately, string-led waltz “Man Who Told Everything” is included as a truncated “summer” version.

To read the full review, click here.

The songs on the album have not been ordered in chronological order of release and the band have taken painstaking care to arrange the tracks specifically in the way that they wanted their fans to experience the album. This really works as their four albums varied quite significantly in terms of influences and sound. For example, The Last Broadcast had strong psychedelic rock influences such as King Crimson while Kingdom of Rust was a bold album with snatches of disco, spaghetti western themes, and electronic beats.

If you are going to start with anything Doves at this point, you may as well start with The Places Between, because 4 albums of catch up might be too much in terms of epic rock. There is over 40 songs here, which may seem like a lot, but captures all the best parts of the band . . . the booming bass, haunting vocals, epic soundscapes, and triumphant, tribal drum patterns. They truly are a treasured band, and although The Places Between feels like closure on the band, with 14 previously unavailable tracks on here as well, this is a good place to put Doves in context


To read the full review, click here.

Pitchfork 5-10-15-20

Thanks to our friends at Nashville Mixtapes for bringing this to our attention. Jimi recently gave Pitchfork his 5-10-15-20 picks. Its a new feature at pitchfork, where they talk to artists about the music they loved at five-year interval points in their lives. Its interesting reading:

Age 5

Mud: “Tiger Feet”

The first gig I went to was for this bubblegum 70s rock’n’roll band Mud. They were all wearing teddy boy suits. It was a bit silly, but I was five. It was back in the time when all the merchandise and badges were really huge– they were as big as me. I bought a Mud flag, a Mud scarf, and a big Mud badge and I was showing them off in the playground the next day. The teacher took it all off me. I was a little too excited.

Age 25

Radiohead: The Bends

After listening to hip-hop and dance music for a long time I started to get excited by guitar music again around this time. The Bends is where Radiohead really started coming into their own, where Thom Yorke really found his voice as a lyricist and writer. They really impacted us as a band. They impacted everyone.

To read the rest of Jimi’s picks, click here.

Pitchfork Review

Pitchfork have posted a very favorable album review:

While the past decade has seen the indie kids go dance and the dance kids go indie, Doves’ 1998 formation was ironically predicated on an abrupt, 180-degree break from their former house-production guise as Sub Sub, absconding rhythmic propulsion for a space-rock sway. But more than any previous Doves album, Kingdom of Rust is built for motion and acceleration, leading its songs to unexpected and often exhilarating highs: Slow-percolating opener “Jetstream” counts down to lift-off with a hi-hat-triggered techno bed track that gradually intensifies into a tremorous, tribal clatter

To read the full review, click here.