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Alternative & Indie - Released September 11, 2020 | Imperial Distribution

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Alternative & Indie - Released August 28, 2020 | Imperial Distribution

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Alternative & Indie - Released August 27, 2020 | Virgin EMI Records - Heavenly Recordings

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Alternative & Indie - Released August 7, 2020 | Imperial Distribution

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Alternative & Indie - Released August 7, 2020 | Virgin EMI Records - Heavenly Recordings

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Alternative & Indie - Released August 7, 2020 | Virgin EMI Records - Heavenly Recordings

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Alternative & Indie - Released July 27, 2020 | Imperial Distribution

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Alternative & Indie - Released July 9, 2020 | Imperial Distribution

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Alternative & Indie - Released June 18, 2020 | Imperial Distribution

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Rock - Released May 8, 2020 | UMC (Universal Music Catalogue)

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Rock - Released April 17, 2020 | UMC (Universal Music Catalogue)

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Pop - Released April 15, 2016 | Umami Records

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Rock - Released January 1, 2012 | Heavenly

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Pop - Released January 1, 2010 | Virgin Records

For a brief period, Doves ruled the roost when it came to 21st century Brit-pop. Their music connected the dots between OK Computer-era Radiohead, Coldplay, and U2, a welcome combination for those unwilling to forgive U2's Pop or follow Radiohead down their Kid A rabbit hole. As a result, Lost Souls and The Last Broadcast both went platinum in the U.K., spawning no less than six Top 40 singles in the process. Those two albums dominate The Places Between, a greatest-hits compilation that focuses on the band’s glory days. To their credit, Doves have yet to release a dud of a record -- even the band’s lowest-selling album, Kingdom of Rust, went gold -- and they’ve collected their strongest material here, meaning the records that didn’t sell as well are still represented by strong, melodic tracks. “Andalucia,” the compilation’s only new track, holds its own against 14 established hits, a sign that Doves aren’t quite done with their reign of the U.K. charts. [For the true Doves fanatic, The Places Between was also released in a triple-disc package, including a bonus disc of rare recordings and a DVD featuring the band’s music videos.] © Andrew Leahey /TiVo
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Pop - Released January 1, 2010 | Virgin Records

For a brief period, Doves ruled the roost when it came to 21st century Brit-pop. Their music connected the dots between OK Computer-era Radiohead, Coldplay, and U2, a welcome combination for those unwilling to forgive U2's Pop or follow Radiohead down their Kid A rabbit hole. As a result, Lost Souls and The Last Broadcast both went platinum in the U.K., spawning no less than six Top 40 singles in the process. Those two albums dominate The Places Between, a greatest-hits compilation that focuses on the band’s glory days. To their credit, Doves have yet to release a dud of a record -- even the band’s lowest-selling album, Kingdom of Rust, went gold -- and they’ve collected their strongest material here, meaning the records that didn’t sell as well are still represented by strong, melodic tracks. “Andalucia,” the compilation’s only new track, holds its own against 14 established hits, a sign that Doves aren’t quite done with their reign of the U.K. charts. [For the true Doves fanatic, The Places Between was also released in a triple-disc package, including a bonus disc of rare recordings and a DVD featuring the band’s music videos.] © Andrew Leahey /TiVo

Pop - Released January 1, 2010 | Virgin Records

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Rock - Released January 1, 2009 | Heavenly

Four years after retreating to the English countryside to record 2005's Some Cities, Doves return to a more urban state of mind with Kingdom of Rust. "My god," Jimi Goodwin sings during the title track, "it takes an ocean of trust in the kingdom of rust." Guitars chime throughout the chorus, where Goodwin's baritone searches of a lost love amidst a town's landscape. A string section makes an appearance toward the song's conclusion, bringing with it the same sweeping, Brit-pop uplift that fueled the band's debut album. Doves are still indebted to that scene -- the same one that spawned dozens of guitar-fueled, new-millennial rock bands -- but their songs have become broader in scope, often reaching an elated, emotional peak before spending a good amount of time on that emotion's melancholic comedown. As the album title suggests, Kingdom of Rust gives time to both sides of the band's personality, from the sweeping, cathedral-esque anthems ("The Outsiders," "Winter Hill") to dark, tarnished brooders ("Jetstream") that help level the spectrum. Songs like "10:03" and "Birds Flew Backwards" strike a balance between those two camps, with the latter track featuring a stately cello and some dazzling moments of atmospheric, reverb-heavy harmonies. This is still a bright record, though, one that finds catharsis in the gloomier songs and strength in the tracks that resemble Lost Souls' anthems. © Andrew Leahey /TiVo
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Rock - Released January 1, 2009 | Heavenly

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Rock - Released January 1, 2009 | Heavenly

Booklet
Four years after retreating to the English countryside to record 2005's Some Cities, Doves return to a more urban state of mind with Kingdom of Rust. "My god," Jimi Goodwin sings during the title track, "it takes an ocean of trust in the kingdom of rust." Guitars chime throughout the chorus, where Goodwin's baritone searches of a lost love amidst a town's landscape. A string section makes an appearance toward the song's conclusion, bringing with it the same sweeping, Brit-pop uplift that fueled the band's debut album. Doves are still indebted to that scene -- the same one that spawned dozens of guitar-fueled, new-millennial rock bands -- but their songs have become broader in scope, often reaching an elated, emotional peak before spending a good amount of time on that emotion's melancholic comedown. As the album title suggests, Kingdom of Rust gives time to both sides of the band's personality, from the sweeping, cathedral-esque anthems ("The Outsiders," "Winter Hill") to dark, tarnished brooders ("Jetstream") that help level the spectrum. Songs like "10:03" and "Birds Flew Backwards" strike a balance between those two camps, with the latter track featuring a stately cello and some dazzling moments of atmospheric, reverb-heavy harmonies. This is still a bright record, though, one that finds catharsis in the gloomier songs and strength in the tracks that resemble Lost Souls' anthems. © Andrew Leahey /TiVo
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Pop - Released January 1, 2009 | Heavenly