DOVES: YOU AND I ARE SO FULL OF LOVE AND HOPE
Watching Doves last night I was struck by the nature of the anti-personality – that being the art of having a personality centred around well.. not really having a personality.
In marked contrast to bands that exhort and cajole the crowd with ‘love me’ eyes or rehearsed moves, the Doves approach is more measured. They barely speak to or even acknowledge the crowd. This isn’t a product of shyness or laziness of course, it fits the bands ethos to be workmanlike and to concentrate on playing their instruments and ‘let the music do the talking’. But I think it goes further than that.
They are seen as nice, humble guys. They make the music, they are in the industry for the music. I don’t really doubt the truth of this but they also have the air of people that are self-satisfied - not in a smug way, but as a by-product of exuding a natural, effortless self-confidence.
For musicians they have surprisingly little to say, their lyric sheets are prosaic and again almost as if they feel they don’t need to try. The music says it all. It does, of course.
From new single Snowden right back to Here It Comes and The Cedar Room the Doves sound is uniquely atmospheric. It says a lot that I find it hard to pinpoint where this atmosphere is generated from. I suppose it stems from complex layering of sound, an artform that they have honed from the Sub Sub dance music days through being gifted musicians but more tellingly due to having an ear and bent for the technical aspects of producing music.
Jimi’s voice is always better heard live. Hisroar raw sound works within a limited range but this matters less outside the confines of recorded notes, as he prowls around the Apollo stage throwing what can only be described as rock star poses, albeit in something of a minimalist way. They all go for rock cliche poses on stage, the antithesis of the prog-driven desire to enter new territory, musically. Again, they don’t need to bother with personality – they are above personality or so it seems to me.
“It’s good to be home. And that’s not a cliche” says Jimi “Actually, it is a cliche but I really mean it!”
Hah! Bingo! This line says it all.
And later, just before ‘There Goes The Fear’:
“I t’ink you’ll know dis one” Jimi intones in a bad oirish accent.
Another generic line, delivered just because he felt obliged to acknowledge the big hit.
They are the cool people. They aren’t cool in the way that everyone wants to be them, they are just recognised and respected as being cool; a detached, nonchalant, self-sufficient cool that is innate and intimidating.
Pounding isn’t a set opener, for me, but the way it is tossed out first is indicative of a confidence and belief in the sheer quantity of strong material to follow. Words is a dog on record but the blending of vocals live always sounds so much more direct and powerful.
In fact The Last Broadcast material is all fantastic tonight. The title track itself, one of several bizarre choices, gets the crowd going with its deceptive rhythm. I haven’t listened to the album for ages – I loved loved loved it at the time but later dismissed it for it’s serious leanings. Satellites which is the archetypal prog-Doves track is magnificent – like leaning back and realising the endless nature of the sky. I have no idea if it was intended this way but in my mind it soundtracks some epic, historical journey into the unknown. Now that they have made a slimmed down record in Some Cities, I find myself appreciating the grandiose intent of The Last Broadcast far more easily.
Do they need all of the layering, does the sound work when it is stripped down, is Some Cities any cop? I’m still not 100% sure. I think the new record lacks something, I think it is bland at times. Too professional and polished or maybe just low on hooks and melody. In earlier work, the sprawl and teh at-mos-phere disguised this. No. Rather it coaxed more out of the songs, for there really is nothing from the new record to touch the peaks of the early records. I think it’s harder to lose oneself in it, like you can in The Cedar Room or Caught By The River – the live rendition tonight reminding me that they if they so desire, they can write the anthemic pop-rock song for which Noel has forgotten the knack.
As Spaceface blares out it is once more a testimony to the unique nature of the band. Any other modern rock bands out there that triumphantly climax a homecoming gig with a slice of early 90’s rave? Thought not. Played straight, in front of the backdrop of a spaceship, there is to be no stage invasion as at the Academy three years ago but there is that same sense of coming down from a natural high.
Watching Doves last night I was struck by the nature of the anti-personality – that being the art of having a personality centred around well.. not really having a personality.
In marked contrast to bands that exhort and cajole the crowd with ‘love me’ eyes or rehearsed moves, the Doves approach is more measured. They barely speak to or even acknowledge the crowd. This isn’t a product of shyness or laziness of course, it fits the bands ethos to be workmanlike and to concentrate on playing their instruments and ‘let the music do the talking’. But I think it goes further than that.
They are seen as nice, humble guys. They make the music, they are in the industry for the music. I don’t really doubt the truth of this but they also have the air of people that are self-satisfied - not in a smug way, but as a by-product of exuding a natural, effortless self-confidence.
For musicians they have surprisingly little to say, their lyric sheets are prosaic and again almost as if they feel they don’t need to try. The music says it all. It does, of course.
From new single Snowden right back to Here It Comes and The Cedar Room the Doves sound is uniquely atmospheric. It says a lot that I find it hard to pinpoint where this atmosphere is generated from. I suppose it stems from complex layering of sound, an artform that they have honed from the Sub Sub dance music days through being gifted musicians but more tellingly due to having an ear and bent for the technical aspects of producing music.
Jimi’s voice is always better heard live. His
“It’s good to be home. And that’s not a cliche” says Jimi “Actually, it is a cliche but I really mean it!”
Hah! Bingo! This line says it all.
And later, just before ‘There Goes The Fear’:
“I t’ink you’ll know dis one” Jimi intones in a bad oirish accent.
Another generic line, delivered just because he felt obliged to acknowledge the big hit.
They are the cool people. They aren’t cool in the way that everyone wants to be them, they are just recognised and respected as being cool; a detached, nonchalant, self-sufficient cool that is innate and intimidating.
Pounding isn’t a set opener, for me, but the way it is tossed out first is indicative of a confidence and belief in the sheer quantity of strong material to follow. Words is a dog on record but the blending of vocals live always sounds so much more direct and powerful.
In fact The Last Broadcast material is all fantastic tonight. The title track itself, one of several bizarre choices, gets the crowd going with its deceptive rhythm. I haven’t listened to the album for ages – I loved loved loved it at the time but later dismissed it for it’s serious leanings. Satellites which is the archetypal prog-Doves track is magnificent – like leaning back and realising the endless nature of the sky. I have no idea if it was intended this way but in my mind it soundtracks some epic, historical journey into the unknown. Now that they have made a slimmed down record in Some Cities, I find myself appreciating the grandiose intent of The Last Broadcast far more easily.
Do they need all of the layering, does the sound work when it is stripped down, is Some Cities any cop? I’m still not 100% sure. I think the new record lacks something, I think it is bland at times. Too professional and polished or maybe just low on hooks and melody. In earlier work, the sprawl and teh at-mos-phere disguised this. No. Rather it coaxed more out of the songs, for there really is nothing from the new record to touch the peaks of the early records. I think it’s harder to lose oneself in it, like you can in The Cedar Room or Caught By The River – the live rendition tonight reminding me that they if they so desire, they can write the anthemic pop-rock song for which Noel has forgotten the knack.
As Spaceface blares out it is once more a testimony to the unique nature of the band. Any other modern rock bands out there that triumphantly climax a homecoming gig with a slice of early 90’s rave? Thought not. Played straight, in front of the backdrop of a spaceship, there is to be no stage invasion as at the Academy three years ago but there is that same sense of coming down from a natural high.
2 Comments:
Good to have you back in the game. Keep it up.
Saw the same gig...totally agree. And I don't think the new album is up to scratch. Usually if I can't get into a record and then hear the songs live it helps, but hearing the new songs live just emphasized that they aren't as good as anything off The Last Broadcast or Lost Souls. Ah well...maybe next time.
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