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.
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.
The second disc begins with another new recording, “Blue Water” which reminds me of Karl Wallinger’s World Party. It is a fabulous song and one that I’d like to see released as a single. The rest of the disc is a rather laid back cross section of solid and mostly unknown songs. The disc has a serious, downbeat sound and should have a great appeal to fans and new listeners alike.
I’d always liked Doves but it took this collection to make me love them. Hearing so many great songs in one collection made me realize just how much great material they have released over their career and I do believe the second disc will keep me going until they come back with more. I would certainly recommend the three disc set of The Places Between: The Best of Doves (even if you already have all the albums) because of the new materials, the b-sides and rarities and of course, the videos.
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
All things considered, last night was a good for one multiculturalism and dear old Doves did their bit by inviting the 30-strong London Bulgarian Choir to join them for a BBC Electric Prom that came frustratingly close to being one of 2009’s great concert events.
The two camps were a delightful contrast: one being badly dressed postâ€‘punks with instruments to hand and two No 1 albums under their belts; the other neatly turned out traditionalists with only their voices to share and a CD available only on their web site or at concerts.
That, though, was as bold and brilliant as it got, for (excluding their Doves-free slots that book-ended the encore) as choir were immediately relegated to the role of multi-layered backing vocalists. Even here though, on Kingdom Of Rust where they added Ennio Morricone-esque gravitas or Catch the Sun where they were as uplifting as Polyphonic Spree, the Bulgarians made already fine songs even better, transforming the good to great, the earthbound to celestial.
More frustrating still, for too much of the set, the choir had no part to play and were marooned at the back of the stage in darkness, not underused but simply unused.
A cross fertilisation of northern soul with east European heart brought the third installment of the BBC Electric Proms 2009 to a shimmering euphoric climax tonight with Doves and the London Bulgarian Choir.
Resplendent in traditional Bulgarian costume the choir brought elements of vocal percussion to some of Doves most loved tracks expanding the scope of the songs and adding another dimension to the Manchester band’s rich layered sound.
Composer Avshalom Caspi, who was responsible for arranging the tracks for the 40 strong choir told 6 Music before the show that Doves and the Bulgarian choir are uniquely suited to a collaboration:
Doves were also joined onstage by north Indian c
lassical musician Baluji Shrivastav for the track Birds Flew Backwards which added another more delicate element to the mix. The unique phrasing techniques used by the choir perfectly enhanced Doves soaring post Dance melodies, creating real moments of transcendental beauty on tracks like Kingdom of Rust and The Last Broadcast, and on final track There Goes the Fear pushed the band’s famous supersonic Samba wig out to a new zone.
Here’s a couple more reviews of the Terminal 5 show on June 5th, alongside a great set of photos from music site, The Trip Wire.com…
To view the rest of The Trip Wire’s photos (and a cute haiku), click here.
…the Manchester trio played NYC’s multi-leveled Terminal 5 last night, and not only did they play it, they sold it out, at $37 per ticket, no less. The fact it was their first local show in four years surely helped, but the resounding success of their layered, atmospheric indie rock remains: Doves are a force to be reckoned with.
The encore, which included the melancholy ‘Last Broadcast’ and the sweet lullaby-like ‘There Goes the Fear’, kept people riveted until the very last moments… and made for some very clogged exits at the end of the night, as no one appears to have been able to sneak away early from the gorgeously hypnotic set.
To read the rest of EMI.com’s review and see a few more photos from the show, click here.
Overall, I couldn’t hear Jimi Goodwin’s bass, but his distinctive vocals were consistently spot-on all night. Also, the band’s sequencing (controlled by the mysterious man crouching behind the drums?) was a little off, leaving some parts to come in at the incorrect time or not at all. (Or again, maybe I just couldn’t hear them?) Still, Doves soldiered through and seemed in good and gracious spirits.
Click here, to read the full review at kevchino.com.
Not until the third song into the show did Goodwin’s vocals warm up and the way he belted his voice throughout the venue was simply astounding. Every nuance while he was singing was similar, if not better, than any of his work done in a recording studio; seeing the Doves live was turning out to be quite an unexpected treat.
With songs such as “Pounding” and “Black and White Town“, the crowd was soon singing along, swept off their feet with each song that was played. Their title-track “Kingdom of Rust” was another favorite from the new album and the addition of keyboardist Martin Rebelski made his impact known. Rebelski certainly fit right in as well, practically hidden behind the mounds of keyboards and sound equipment in the far back right corner of the stage.
Click here, to read MusicUnderFire.com’s full review.
Oddly enough, most of their upbeat rockers, aside from “Black and White Town,” never really reached any point of combustion. This may have been a problem to do with improper sound leveling, but “Pounding,” didn’t emphasize much change in drum dynamics. “The Outsiders,” almost completely hid the bassline in the first verse that takes as much of the lead melody as the guitar. This song sounded superb on their performance on Late Night With Jimmy Fallon, so one has to wonder what went wrong if it sounded good on a cheap tinny TV. In this respect, their studio production wins outright.
To make up for these blips that, for the most part, didn’t seem to be judgment errors on the side of the musicians, Doves outperformed any notion of high expectation on almost every other song. They played 17 songs, and I would say that 10 of them could have been the high points of the show.
To read the full review at Phrequency Blog (and view a great gallery of pictures), click here.
While this would not rank among my Top 5 Doves gigs, it needs to be pointed out that these guys are the most consistent live performers I’ve seen while I’ve been blogger. You know you’re going to get an aural and visual assault of emotions. Sometimes, in those rare moments, you just forget everything in the outside world and you submit yourself to their music and live show.
When you see a band 11 times in nine years, there is plenty you can count on. First, it’s all the hits we love from their previous three albums. Although “Catch the Sun” has been vanish from their setlist since 2003
So count these dudes among those beating U2 at their own game in the last decade or so, i.e. the Soaring, Grandiose, Unapologetically Bombastic Arena Rock game, the sort of anthemic, overdriven guitar rock that’s actually a pretty good fit for an airport terminal. Every song an epic, every chorus a budding soccer-stadium sing-a-long. Except Doves are (relatively) unassuming about it, affable and casual Brits who take their time (their new Kingdom of Rust was nearly a half-decade in the making) and don’t have much in the way of an agenda
Fresh from taping a performance for Late Night with Jimmy Fallon, UK indie-rock trio Doves packed the house in many ways last night at Terminal 5—first of which was filling the venue to the brim with fans. What the group lacked in physical presence (although they play with a fourth member on tour) they absolutely made up for in aural presence. Not a note was spared from the first few rows of people packed tightly against the metal barrier up to the crowded VIP balcony on the third floor in the back.
Here are three reviews of the Toronto Kool Haus show. All pretty positive:
You’d expect some rust given their lengthy hiatus, but the band were in perfect form. They even apologized for bringing the cool, damp U.K. weather with them. But they really should have apologized for openers Wild Light.
A grainy Super-8 video of an airplane taking off played on a massive screen that backdropped the stage as Doves entered, gave a humble wave hello, then dove into “Jetstream,” Kingdom Of Rust‘s first single.
I was glad to hear the shotgun blast kick drum and dark, rumbling bass that were mostly absent from Kingdom Of Rust are still very much present in their live sound. There was a vomit-inducing THUMP THUMP THUMP that threw back to the band’s Madchester days (they met in Factory Records founder Tony Wilson’s legendary Hacienda Club) in The Last Broadcast‘s “Pounding,” which was met with cheers and rhythmic handclapping. Some joker near me decided to clap on the 2-4 instead of the 1-3 and was mocked mercilessly.
Prior to the show I was told that Doves were amazing live and I figured that they’d be ok, I was wrong. These guys are great live and maybe one of the better bands I’ve seen live. Their sound, attitude and overall feel of the show was amazing. I personally don’t like the Koolhaus as a venue but that couldn’t stop this show from being great.
Not only were the Doves one of the better bands I’ve seen live, but the way they ended their show was amazing
To read the rest of the much music review, click here.
The band came on at about 10:15 and to our surprise, there was a 4th member – Roman Rebelski, who was in charge of keyboards and all things electro. Playing against a large project backdrop featuring random videos, the Doves quickly launched into recent single Jetstream, and my oh my, instantly you can see what an addition Rebelski is to the set. With the added keyboard addition, all the Doves song seem to have an extra oomph to them. The material from the recent album had an extra kick, whether it was because of a looped beat or a some added melodies, I found the addition of the fourth dude to be quite nice.
To read the rest of the Panic Manual review, click here.
by admin · Published May 24, 2009
· Last modified September 8, 2010
Here are some of the reviews coming out from doves short performance at today’s Sasquatch.
Doves played a majestic set on the main stage that wrapped up just a few minutes ago. Their songs are pleasant, yet rocking. The crowd seems seems to be enjoying the tunes and the energy feels like everyone is warming up to the idea of 3 days of blistering heat–by the way, it’s really hot here–especially for those of us more accustomed to rain and clouds than full sun. Sunscreen and skin are everywhere you look and there is much vitamin D being created. Gonna go run and catch Dent May!
I love Doves, and I’m really glad they came out of their hiding place and put out a new album this year (I blame them for all the British accents I keep hearing everywhere), but they’re another one of those pop bands that you’ll only enjoy live if you’re already in love with their music. Someone who just walked up to the band’s set probably wouldn’t have found anything remarkable about these self-designated “fucking Limeys,” but they are remarkable. You just need to get to know them. I promise.
Doves Set Tone For Big Names To Follow
By Jeremy Dutton
I’ve been into the Doves since their masterpiece: 2002’s “Last Broadcast.” They just finished a great set that included “Kingdom of Rust” and fan favorite “There Goes the Fear Again. They set the bar pretty high for the rest of the night. Although I’m sure someone can do little better in the rapport department. In addition to calling concert attendees “limey f***s.” they also begged the question of “What the f*** is a corndog?” and “What’s with the stick?” Silly Brits.
Few bands have come to the world’s attention on the strength of a debut like Doves’ Lost Souls, an album that set an almost impossibly high standard. Nine years and three albums later, the band still have an awful lot to live up to.
Like its two immediate predecessors, Kingdom of Rust falls short of greatness but it is mostly a strong and accomplished album. The basic elements are present; tightly structured songs, great hooks, singalong choruses and immaculate production. The success of this formula is exemplified by ‘Spellbound’, which charges and soars like clockwork. This is hearty music from a group who are, by now, thoroughly comfortable in their collective skin. Indeed, you could be forgiven for mistaking comfort for complacency; it is hard not to suspect that a lot of these songs have been written and perfected before. For that reason, album closer ‘Lifelines’ comes as a welcome surprise. Sounding quite unlike anything that precedes it, the track is a thumping tribute to perseverance in the face of adversity. It is fresh, invigorating and sincere and may just be one of the first great pop songs of 2009.
IT’S ALWAYS tempting and somewhat lazy to compare bands with other outfits within their genre.
Doves however somehow defy that style of reviewing because they are extremely hard to pigeonhole (absolutely no pun intended).
They just do what they do very well.
There’s nothing at all rusty about this album despite the title.
It just does what it says on the tin. Pop music that’s had a wee flirtation with indie but decided that they probably weren’t compatible.
The intro to title track Kingdom of Rust is reminiscent of The Devine Comedy (the band, not Dante’s magnum opus). There’s a superb locomotive of a rhythm and a sweetheart of a chorus that singles this one out as, well, a single.
You may be tempted to stick this one on the stereo on returning from a night out as a wind down from clubbing album given the vibes in the first two tracks.
Don’t go there because there’s a curveball coming that will hit you square in the guts which reminds you just why this lot have sustained.
Winterhill is a get your lighters aloft anthem. It’s what festivals were made for.
Catch Doves at T in the Park where they will confidently showcase this gem. This is Coldplay for happy people.
The likenesses between British indie rockers Doves and megastars Coldplay are obvious and expected as the two groups share similar backgrounds, influences and styles. But while the latter have spent the last several years chasing glamour by the tail, the former have opted to sit thoughtfully back and observe the world; a quality which has added a richness and legitimacy to their music.
Doves’ fourth album, Kingdom Of Rust, is an adventurous exploration of all the areas that lie directly outside of their Radiohead-inspired, ethereal and digitally-aided brand of indie rock. From the beautifully atmospheric sci-fi vibe of “Jetstream” to the country/western colored title track, Doves swell in and out of a multitude of different soundscapes, while retaining their inherent sound and integrity all the way through this eleven-track pleaser of the senses. Arranged by The Chemical Brothers’ Tim Rowlands, “10:03″ is among the album’s most innovatively mesmerizing tunes, while Doves’ look backwards to the likes of New Order and Queen for the upbeat and interesting “Compulsion.”
Lacking a single dull or poorly-written moment, Kingdom Of Rust is as honest and tuneful as any album out there today, and one that places Doves miles ahead of their counterparts. Records like this should simply not be ignored.
by admin · Published April 24, 2009
· Last modified January 16, 2019
Almost Forgot Myself
The Greatest Denier
Kingdom Of Rust
Black And White Town
Caught By The River
There Goes The Fear
To set was cut short due to Andy being ill, hence the next show in Leeds was canceled.
The Doves’ newest album, Kingdom of Rust, is definitely not for everyone. It is a cacophony of minor, at times difficult-on-the-ear sounds. That being said, it is likely to be one of the most intriguing, original albums you’ve heard in a long time. The entire album has a strange, almost electronica-like aura, perhaps most notably displayed in the track, “The Outsiders.” It is a little creepy at times, but in general makes for an overarching sound that is both indie and at times reminiscent of classic rock. “House of Mirrors” is probably the most interesting track of the album, constantly changing the prevalent rhythm and tempo while spontaneously adding sound effects and featuring incredible guitar instrumentals. The listener will never get bored, but may, on the contrary, wish for a break, one that comes around the middle of the album. The listener is given room to digest the initial fast-paced music with much slower-paced tracks, beginning with “10:03.” “Ship of Fools” is another track worthy of mention, as its background flow somehow emits the feeling of being on a ship at sea. The Doves have changed since their most widely known album, 2002’s The Last Broadcast, but an open-minded listener will bask in the innovative glory of Kingdom of Rust.
The band musters a lot of sound for just three guys, carefully layered and interestingly developed, rather than relying on repetitive chords and lines. Of particular note is guitarist Jez Williams, who manages varied effects, from wah-wahs to heavy distortion dripping with resonance to heavy incisive licks, sometimes even within the same song, while making them all seem not only to fit, but also to be absolutely necessary.
Doves bring their most ambitious and bold material out towards the end of Kingdom of Rust. Before guitarist Jez Williams begins singing on “Compulsion,” the sound can be confused with that of another Mancunian threesome, the Bee Gees. With Andy Williams tapping away on the top hat and cymbals and Goodwin laying down a groovy baseline, this song just makes you want to dance like its 1975.
This has been 18 months in the making and they’ve secreted themselves away in a Cheshire farmhouse to record it. The fruits of their extended labour is an album that’s cerebral and eclectic –experimental even. At times they’re wind-up merchants, building up a fever-pitch sense of anticipation without ever flourishing into the longed-for killer chorus. Others range from a Chemical Brothers-kind wallop through to Who-like meandering rock anthems –and that’s before the quiet, orchestral rock intensity and far-off shimmerings. As for where the Lancastrian Spaghetti western-sounding title track fits in –well, it doesn’t.