When Doves announced that they were on an “indefinite hiatus” after playing their last gig in October 2010, many fans were justifiably concerned that we had seen the last of the British indie rockers. After all, while Manchester has many great bands, they aren’t necessarily known for reuniting for much more than a gig or a tour here and there. The biggest of them will very likely never reunite again with members feuding and trash talking each other on social media. Fortunately, Doves just needed a break to pursue other projects. During their break, lead vocalist released solo album Odludek and brothers Jez and Andy Williams form the band Black Rivers. Unlike Oasis, The Smiths and The Stone Roses, Doves not only reunited but have announced a string of shows in support of their new album The Universal Want.
Similar to their breakout sophomore album, The Last Broadcast, their newest album also starts with an instrumental intro that layers in some heavily reverbed spoken word. The intro leads in the first single “Carousels” with an Afrobeat drum sample from Tony Allen that lays the foundation for a track that neatly toes the line between jangly anthem and psychedelic rock. Staccato drum beats from Andy Williams drive “I Will Not Hide”. The track seems to be a statement of derision and defiance against lying politicians and treats listeners to the first guitar solo on the album from Jez Williams. Both “Broken Eyes” and “For Tomorrow” have the feel of that classic Doves sound that seems like it could be on any one of their albums. “Cathedrals of the Mind” is brilliantly layered both musically and lyrically, with instruments flowing in and out with some dub reggae-inspired mixing.
The lyrics are reflective of the time that we are in, as Goodwin reflects on memories of good times spent with friends while not being able to have one on one interactions with them. While the rocker “Prisoners” is a cry of desperation about dwelling in the past and loneliness, “Cycle of Hurt” is a counterpoint of confronting the past instead of dwelling in it. The titular track starts off mellow before building to climax about halfway through and adds some electronica to the background while it continues to build to the climax of the album. The album closes with the acoustic guitar-driven “Forest House” that mirrors the acoustic closer “A House” from their debut album Lost Souls.
The Universal Want does not see a huge departure in sound for Doves and this is really for the best. The trio from Manchester recorded an album that could just as well have come out a few years after Kingdom of Rust. All too often bands try to fit in with where music has progressed and it makes for an album that fans only casually listen to and hope they don’t play too much of next time they tour. However, Doves has stayed true to their sound and as the result they have made an album that fans will want to listen to over and over.
Photo credit: Jon Shard
