Search results for: “limited edition”

In a tumultuous 2020, the reemergence ofnbspDovesnbspwith new music has provided a shaft of light in an otherwise brooding sky, finally landing their fifth album,nbspThe Universal Want, after an elevenyear artistic break, onnbspFri 11 September 2020.The equally ecstatic and relieved response from fans and critics to the first track to emerge,nbspCarousels, during the final, confusing throws of the UK and Europersquos strict COVID19 lockdown innbspJune, proved how desperately their idiosyncratic sense of euphoric melancholy was, and is, needed. Catching many offguard, Doves unleashed a track of unfathomable depth, unfurling rich and unpredictable pockets of sound, twisted round a sample of the greatnbspTony Allennbspat his very best.ldquoThis place is wild at heart and weird on top, you just couldnrsquot make it up,rdquonbspsaid Jimi Goodwin, surveying the world through his window while a global pandemic was taking root in lateMarch 2020. ParaphrasingnbspLaura Dernrsquosnbspcharacter, Lula Pace Fortune in the 1990,nbspDavid LynchnbspfilmnbspWild At Heart,nbspGoodwin hits on the Lynchianobsessions shared by all three Doves. Himself,nbspAndynbspdrumsvocals andnbspJez Williamsnbspguitarsprogrammingvocals would often find themselves hosting impromptu postrave, home screenings in the early 1990s.By quoting the film, the lead singer and bassist of thenbsptwice Mercurynominatednbspband 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, vinylonlynbspCedar EP, Dovesrsquo first album,nbspLost Soulsnbsp2000, received both press and awardpanel praise, before Number One followup,nbspThe Last Broadcastnbsp2002 provided the trio with a major breakthrough, offering with the hit singles,nbspThere Goes The FearnbspandnbspPounding. StraighttoNumber One follow up,nbspSome Citiesnbsp2005 and the difficult birth of the muchlovednbspKingdom of Rustnbsp2009 appeared to complete a perfect legacy if the hiatus the band called in 2010 lasted longer than anyone hoped. nbspIt certainly lasted longer than the band had expected.nbspldquoItrsquos bizarre how quickly life just passes,rdquonbspsays Goodwin, reflecting on the years that turned into a decade.The story ofnbspThe Universal Want,nbspthe title itself and other tracks such asnbspPrisonersnbspgiving an impression of the bandrsquos disdain towards the consumerist illusion, starts in a rented house in EnglandrsquosnbspPeak Districtnbspduring 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 innbspthe North Westnbspandnbspthe Midlands.Andy Williamsnbspdescribes the excitement of the sessions,nbspsayingnbspldquoThere were times when we felt an indescribable buzz. It was a breeze compared to lsquoKingdom Of Rustrsquo, with one of the nicest things being just hanging out. We were never that far apart Irsquod call Jimi every month. Wersquore too closely tied to have lost contact Irsquod miss them.rdquoRefusing once more to fall into predictable, guitarbassdrums, lsquoplug in and playrsquo dynamics,nbspThe Universal Wantrsquosnbspoverwhelming sense of intrigue owes everything to Dovesrsquo three decades experience at the wheel of their band a lifespan going back to their time as dance band,nbspSub 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 ofnbspBowie,nbsprare 70rsquos soul, Detroit HousenbspandnbspAfrobeatnbspare cast subtly across the shape shifting album.Cycle Of Hurtrsquos, disembodied mantra ofnbsplsquoitrsquos a traprsquo, 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 wasnrsquot, and isnrsquot their intention to write a manifesto rallying against vapid consumer culture.nbspldquoWhen it comes to themes,rdquonbspsays Jeznbspldquowe always find a very collaborative way forward. Itrsquos all quite subconscious. Itrsquos only when you look back that you can see the threads linking the songs.rdquoRewarding fans for ten yearsrsquo worth of patience, and welcoming new fans into the fold in style, Doves releasenbspThe Universal Wantnbspin multiple, special edition formats including anbspsoughtafter box set, comprising the album on vinyl and cassette, anbsplimitededition Remix LP, postcards and signed prints. .The Universal Wantnbspwas selfproduced by Doves, withnbspDan Austinnbspcontributing to seven tracks, whilenbspMartin Rebelskinbspbacks the band on keys, pianos and synths for a fifth time.Album artwork comes handpicked by the band by Londonbased, Finnish photographer, Maria Lax.Her 2020 photobook, Some Kind Of Heavenly Fire, set evocative images alongside memorabilianbsprelating to a moment in time when hardship, industrialisation and UFO sightings disturbed the peacenbspof her isolated hometown in Northern Finland. Struck by the power in her work, Goodwin acquirednbspthe book, then gifted his band mates a copy each.