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DOVES

Doves

Black And White Town - Music Box

    Black And White Town was the lead single from Doves' third album Some Cities and was released in 2005 on Heavenly Recordings.

    This version of the Doves anthem is an evocative echo of the original track's beautiful vocal melody.

    Doves

    Reprise - Music Box

      The penultimate song of Doves’ debut long player ‘Lost Souls’, 'Reprise' revisits the guitar figure from other album track ‘The Man Who Told Everything'.

      Released in the year 2000 on the Heavenly record label, the Mercury Music Prize nominated album that Manchester icon Johnny Marr called "a vast 3am melancholic beauty brought to life" went on to gain Top 20 status in the UK and was described by the NME as "the first great album to come from Manchester since ‘Definitely Maybe’...”

      This Official Music Box version of this instrumental classic is a haunting coda to the beauty of the original Doves track.

      Falling Doves

      Electric Dove

        The Falling Doves a force of electric energy. Their music is a fusion of stadium rock with garage rock familiarity, a sound that has helped the guys win over the ears and hearts of fans around the globe.

        Personally mentored by Phil Solemn (the Rembrandt’s), the late Scott Weiland (Stone Temple Pilots), and Pete Best (the Beatles), the Falling Doves have additionally shared the stage with such established acts the likes of Echo & The Bunnymen, Peter Murphy of Bauhaus, Fastball, and Gilby Clarke; the list grows with each passing year.

        Prior to COVID-19, their "Electric Dove World Tour" was set to sweep through Europe, Asia, and Latin America with nothing short of thunder and lightning. The band was able to tear Australia down before restrictions were set in March.

        The band is now rescheduling those missed dates, with a summer tour, dubbed the “Lightning Strikes Twice Tour,” The band will be visiting as many countries as allowed by the ease of restrictions the remainder of 2021.

        While in the UK, at the height of the pandemic, the band sought refuge at the legendary Abbey Road Studios, working under the direction of engineer / producer Chris Bolster with pre-production done at Motor Museum Studios in Liverpool (Oasis, The 1975, Arctic Monkeys ) for a future album, called ‘Liverpool,’.

        About the Double Vision 2022 World Tour in April 2022, will bring the elements of a stadium live concert production into small halls, with a rich visual texture of music videos and the element of lights and theater you would expect from bands like Aerosmith and the Rolling Stones.

        Don’t let the lightning pass you by as the storm rolls through your town and don’t forget your leather jacket. 

        File Under: Deep Downtempo, Xanax Soul, R’n'B Drankie

        Have you ever been trippin’ on Brandy? Well here’s your chance to get down… deep down. Served by two kings in the industry who wish to remain unnamed. Dropping the octaves and upping the opiates, the duo slow dance an R’n'B vocal through dewy pads and echoing perx, concocting a late night anthem for the club and the bedroom.

        STAFF COMMENTS

        Patrick says: I'm sworn to secrecy about the headz behind this bop but rest assured they're a pair of European DJ royalty. Nabbing a choice Brandy vocal and pitching it down into serious narco territories, the duo concocts a sensuous midnight rumble somewhere between moody hip hop, slo mo house and cutting edge electronica. BIG TIP!

        TRACK LISTING

        A1. I Wanna Be 5 Semitones Down
        B1. I Wanna Be Instrumental

        Doves

        The Universal Want

          In a tumultuous 2020, the re-emergence of Doves with new music has provided a shaft of light in an otherwise brooding sky, finally landing their fifth album, The Universal Want, after an eleven-year artistic break.

          The equally ecstatic and relieved response from fans and critics to the first track to emerge, Carousels, during the final, confusing throws of the UK and Europe’s strict COVID-19 lockdown in June, proved how desperately their idiosyncratic sense of euphoric melancholy was, and is, needed. Catching many off-guard, Doves unleashed a track of unfathomable depth, unfurling rich and unpredictable pockets of sound, twisted round a sample of the great Tony Allen at his very best.

          “This place is wild at heart and weird on top, you just couldn’t make it up,” said Jimi Goodwin, surveying the world through his window while a global pandemic was taking root in late-March 2020. Paraphrasing Laura Dern’s character, Lula Pace Fortune in the 1990, David Lynch film Wild At Heart, Goodwin hits on the Lynchian-obsessions shared by all three Doves. Himself, Andy (drums/vocals) and Jez Williams (guitars/programming/vocals) would often find themselves hosting impromptu post-rave, home screenings in the early 1990s.

          By quoting the film, the lead singer and bassist of the twice Mercury-nominated band also, accidentally, expresses what everyone else was feeling at the time of disorientation, fear and hope. Doves have a longstanding habit of doing just that.

          First emerging in 1998 with the release of their debut, vinyl-only Cedar EP, Doves’ first album, Lost Souls (2000), received both press and award-panel praise, before Number One follow-up, The Last Broadcast (2002) provided the trio with a major breakthrough, offering with the hit singles, There Goes The Fear and Pounding. Straight-to-Number One follow up, Some Cities (2005) and the difficult birth of the much-loved Kingdom of Rust (2009) appeared to complete a perfect legacy if the hiatus the band called in 2010 lasted longer than anyone hoped. It certainly lasted longer than the band had expected. “It’s bizarre how quickly life just passes,” says Goodwin, reflecting on the years that turned into a decade.

          The story of The Universal Want, the title itself and other tracks such as Prisoners giving an impression of the band’s disdain towards the consumerist illusion, starts in a rented house in England’s Peak District during secret, unintended writing sessions in 2017. Joining the dots, band historians note that it came a full year before announcing their live return and 18 months before they appeared together publicly. That they were a creative force once more was a near impossible secret to keep, as they worked between studios in the North West and the Midlands.

          Andy Williams describes the excitement of the sessions, saying: “There were times when we felt an indescribable buzz. It was a breeze compared to ‘Kingdom Of Rust’, with one of the nicest things being just hanging out. We were never that far apart; I’d call Jimi every month. We’re too closely tied to have lost contact; I’d miss them.”

          Refusing once more to fall into predictable, guitar-bass-drums, ‘plug in and play’ dynamics, The Universal Want’s overwhelming sense of intrigue owes everything to Doves’ three decades experience at the wheel of their band (a lifespan going back to their time as dance band, Sub Sub), and an autobiographical trip through the sounds of their own lives. From seaside amusements (Carousels) and the remembered heat of acid house (Universal Want) to the aimless summer days of youth (Forest House), each song sets a new reel running to show fragments of their lives and, in turn, those of their listeners. Shadows of Bowie, rare 70’s soul, Detroit House and Afrobeat are cast subtly across the shapeshifting album.

          Cycle Of Hurt’s, disembodied mantra of ‘it’s a trap’, finds the band once more concerned with finding freedom in a cynical, aspirational age. A band that respects creativity itself, allowing the process to meander, it wasn’t, and isn’t their intention to write a manifesto rallying against vapid consumer culture. “When it comes to themes,” says Jez “we always find a very collaborative way forward. It’s all quite subconscious. It’s only when you look back that you can see the threads linking the songs.” 


          STAFF COMMENTS

          Barry says: It's been plenty long enough since a new Doves album, and this one hits all of the high notes we'd expect. Superb melodies, brilliant songwriting and a crystal clear narrative throughout. It's a brilliant return after eleven years, and one we've been sorely needing.

          TRACK LISTING

          1. Carousels
          2. I Will Not Hide
          3. Broken Eyes
          4. For Tomorrow
          5. Cathedrals Of The Mind
          6. Prisoners
          7. Cycle Of Hurt
          8. Mother Silver Lake
          9. Universal Want
          10. Forest House

          Soiled Doves

          Soiled Life

            Seattle's Soiled Doves are history - although the group's brief existence in no way reflects its significance in the scheme of things... The band emerged in the late 1990's as new-wave upstarts The Vogue, and by 2001 had mutated (or, rather, condensed) into the 4-piece Soiled Doves. Three of the Four Doves were soon to be members of the critically-acclaimed Chromatics, while vocalist Johnny was on loan from local heroes the Blood Brothers. Soiled Doves released a single on Arizona's collectable King Of The Monsters label, then ventured into Seattle's Paradox studio to record a full-length. Before the album was finished, it was decided that the group would lay itself to rest - Johnny's commitment to The Brothers was compromising his time, and the band were eager to get on with touring, etc. So, after a single West Coast tour in 2001, they had to split. Essential for fans of the Chromatics and Blood Brothers.


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