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Rock - Released January 1, 2000 | EMI Records

Distinctions Sélection du Mercury Prize
Hailing from the scene that brought the defining sounds of the Smiths, the Stone Roses, Oasis, James, and the Charlatans, Doves is another Brit-pop band playing around with depressing lyrical imagery and embryonic soundscapes that made the Mancunian circuit so popular throughout the '80s and '90s. Gloriously basking in the ethereal ones before them, their debut Lost Souls is a shoegazing twist of emotional bliss. Music hasn't sounded so heavenly since Radiohead and The Verve. The dozen-track look into streaming psychedelia taps into melodic waves of love lorn and sadness, especially on songs like "Rise" and "Lost Souls." The mood rouses and the positive clamor of "The Cedar Room" becomes the album's brassy anthem, very Oasis-like. Frontman/bassist Jimi Goodwin drools like a swooning Damon Albarn during "Here It Comes" and whooshing guitar licks from Jez Williams recall the sounds of Noel Gallagher. NME boldly claims it as the best debut album since Definitely Maybe. They're onto something good. If only Liam and Noel could calm down a bit and find that mesmerizing nature once again. [In October 2000, Lost Souls was issued in America on Astralwerks with three added bonus tracks not included on the original version]. © MacKenzie Wilson /TiVo
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Rock - Released January 1, 2005 | Heavenly

For those who adored the lush textures of Doves' second album, The Last Broadcast, the seriousness of Some Cities might be a bit jarring. The ambitious indie rock trio is much more direct and exact this time out, and it's a great shift in style. In contrast to this opus, optimism ruled on The Last Broadcast, which soared with a majestic celestial setting of bright choruses, vibrant electronic beats, and gushing guitar riffs. Some Cities percolates with more of a hopeful but grounded spirit, an English spirit. The band's native Manchester comes into view. Shades of ash and cinder surround Doves' guitar flow, but without melancholy. The album's title track captures that with vocalist/guitarist Jimi Goodwin's earnest plea, "Some cities crush/Some cities heal/Some cities laugh/While other cities steal/Can't I make you see?" Pianos and drums run parallel on "Black and White Town" and match the adrenaline and motion of "There Goes the Fear." Only two songs in, the band's soft dreamy focus turns into complex emotion, and it's beautifully done. Both the sweeping acoustic guitars of "Someday Soon" and the symphonic lament "The Storm" continue the cinematic slow burn of Some Cities, reflecting upon a cloudy countryside. Escaping the dreariness of Manchester is what fueled Doves to start a band in the first place. Some Cities isn't a Mancunian downer. It's very real and Doves' best yet. © MacKenzie Wilson /TiVo
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Pop - Released January 1, 2006 | Heavenly

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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

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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Rock - Released January 1, 2009 | Heavenly