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Buoyed by refreshed chemistry, restless studio creativity and public reaction to their return, Doves set free the album’s first single, Prisoners, on Thu 09th \/ July \/2020. \u003cbr\u003e\u003cbr\u003e Only the second track and first single proper to be revealed, Prisoners forces attention upon itself, not least with the poignancy of Goodwin’s repeated greeting to ‘old friends’, but as an unstoppable, driving tale of caution in a world of unending desire. Produced by Doves with Dan Austin and recorded at the band’s own Frank Bough Sound III studios in North West England, the high heat of its Northern Soul beat is fanned by wiry guitar breaks and cuts of ethereal noise contorting beneath layers of stacked vocals. A statuesque musical statement, Prisoners guides Doves’ second chapter to a peak now within touching distance, the lyrics contrasting to express unease with modern ills.\u003cbr\u003e\u003cbr\u003e \u003cb\u003eWhite record\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Double heavyweight WHITE coloured vinyl, gatefold sleeve, printed inners and download card\u003cbr\u003e\u003cbr\u003e \u003cb\u003eBoxset\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Lenticular Cover of album artwork on box.\u003cbr\u003e Ex Picture Disc LP\u003cbr\u003e Cassette (limited to box set only)\u003cbr\u003e High quality 12 x 12 prints (art)\u003cbr\u003e Digital Download Code\u003cbr\u003e Numbered Limited Edition \u003cbr\u003e Set of 5 postcard prints using album\/single artwork\u003cbr\u003e Remix LP - 12” LP featuring two Doves Remixes (A\/B)\u003cbr\u003e\u003cbr\u003e Boxset picture is representative - content may vary. \u003cbr\u003e\u003cbr\u003e \u003cb\u003eBlack record\u003c\/b\u003e\u003cbr\u003e\u003cbr\u003e Double heavyweight black vinyl, gatefold sleeve, printed inners, download card\n\u003ch5\u003eTracklist\u003c\/h5\u003e\n1. Carousels \u003cbr\u003e 2. Prisoners \u003cbr\u003e 3. I Will Not Hide \u003cbr\u003e 4. Cathedrals Of The Mind\u003cbr\u003e 5. Silverlake Mother\u003cbr\u003e 6. For Tomorrow\u003cbr\u003e 7. Broken Eyes\u003cbr\u003e 8. Forest House\u003cbr\u003e 9. Teresa\u003cbr\u003e 10. The Universal Want\u003cbr\u003e\n\u003ch5\u003eAlbum Biography\u003c\/h5\u003e\n“Hello old friend, it’s been a while…” \u003cbr\u003e\u003cbr\u003e Some bands, like families, don’t have ‘thunderclap’ events that unexpectedly define a moment or cause a domino cascade that shapes their lives every day thereafter. In the absence of lightning there’s nurture and in the absence of hard rain, there’s gentle persuasion. Some bands, like families, make considered moves together in steps of months and years, rather than rushing from every second into frantic minutes. Doves, it seems, is one of those bands. One of those families.\u003cbr\u003e\u003cbr\u003e When Jimi Goodwin (vocals, guitars, bass, occasional drums), Andy Williams (drums) and Jez Williams (lead guitar, vocals, keys and programming) returned to a major stage for the first time in ten years at the Royal Albert Hall for Teenage Cancer Trust in March 2019, a sense of joyous disbelief developed between them. People still cared so much, including themselves. Such a surge of recognition that it all felt ‘right’ again wasn’t entirely new. Unknown to the audience that moved in rapt joy before them, Doves had begun their second chapter in a secluded corner of England’s Peak District two years earlier. In 2017, the three lifelong friends and musical collaborators of 30 years had come together without a plan or expectation, to try something new. It accidentally became their first writing session since the recording of the 2009 hit album, Kingdom Of Rust. \u003cbr\u003e\u003cbr\u003e “Jez and I went up to the Peak District to work on some ideas,” recalls Andy. “The place we rented wasn’t that far away from where Jimi lives, so we just got in touch and asked him whether he fancied coming up. Just to hang out really. We played the idea for what became ‘Mother Silverlake’ and ended up just jamming it out together. It was really good fun. It just felt great.” \u003cbr\u003e\u003cbr\u003e The track in question, Mother Silverlake, a percussive stroll in and out of Afrobeat inspirations, would remain a happy secret for some time to come. New ideas bloomed and archived loose threads they’d long regarded as unfinished business fell into satisfying formation. Broken Eyes, the second song that the band says came easily, had been a nagging idea they just couldn’t ‘crack’ last time around. Now, it flowed and found shape. What had changed? “Enthusiasm. There was a buzz,” judges Andy. “Perspective,” adds Jez, with Jimi left to offer “There was a willingness. We were all rooting for it. We fell back into it nicely together.”\u003cbr\u003e\u003cbr\u003e Peals of unreserved acclaim followed their Royal Albert Hall show, kind words that blew warmth into the sails ahead of a busy summer of headline outdoor shows and major festival appearances. Their set lists contained crowd-pleasers from their four previous albums, covering Lost Souls (2000), The Last Broadcast (2002), Some Cities (2005) and the aforementioned Kingdom of Rust. The sun shone for their cherished hymns of northern noir, The Cedar Room and Caught By The River, while summer rain frequently failed to dampen breakouts of mass celebration for Pounding, There Goes The Fear and Black and White Town.\u003cbr\u003e\u003cbr\u003e Off stage they continued to convene to carefully construct the 10 tracks that have now become The Universal Want, Doves’ fifth studio album and first new music in eleven years. Aside from the long- running #reformdoves Twitter campaign, the side-lines had been cleared of voices pushing Doves in any particular direction. Under no pressure, they had carefully put 46 minutes and 15 seconds of self-produced new music in place between their base in the Cheshire countryside, Vada Studios in the Cotswolds and Eve Studios on the edge of Greater Manchester. “It’s definitely got the stamp of ‘the time’ all over it,” says Jez, when asked to set expectations for what lies ahead. “Everything on the album is an echo. It’s an echo of what we were going through at the time. Getting back together, the Royal Albert Hall and everything else, but a mandate or a plan never did work for us. We don’t decide what it’s going to be about.”\u003cbr\u003e\u003cbr\u003e As if stood on the pavement outside a church during a service, excluded from the gaze of God and the invitation of salvation, an introduction of dampened organ swirls into the path of album opener, Carousels. A dare is set for the listener; to assume what’s coming next having been accustomed to such indeterminable atmospherics pouring from previous Doves recordings. Yet Carousels’ forfeited guitars, replaced by complex, looped drum patterns, twisted, re-worked or replaced vocals and grizzling synthesized sounds deals a blow to preconceptions. On hearing the opening track for the first time, Jimi says: “I was blown away, as usual. It’s got a bad-ass breakbeat. Nice bite, boys!”\u003cbr\u003e\u003cbr\u003e Recalling the thrill of the funfair, Carousels, as Andy puts it: “Is a reminiscence of the times that we’d go to places like North Wales on holiday as kids, where you had your first experience of sound systems and music being played really loud.” Maintaining a coastal theme, yet arriving almost 1,500km to the south of Rhyl or Llandudno, the components of the final track were assembled in Porto, Portugal. The city provides a regular retreat for Jez, retreating to work on new music, while putting the Manchester he knows and loves to the back of his mind. \u003cbr\u003e\u003cbr\u003e Despite being the revered front man of a band that has twice been Mercury-nominated (for Lost Souls and The Last Broadcast), Goodwin remains endearingly cautious about revealing his own ideas. His profound respect for his band mates, with whom he originally formed dance band, Sub Sub in 1991, makes him a reluctant sharer. “Andy and Jez are my peers; I still feel nervous playing stuff to them.” Yet, with I Will Not Hide, the album’s second track, he supplied a soulful ready-made that was a few short steps from completion. “I pulled it out of the bag,” continues Jimi. “They arranged it for me and we recorded it over two afternoons in my front room in summer 2017.”\u003cbr\u003e\u003cbr\u003e A four-chord progression that warrants an over-the-shoulder glance to classic Doves tracks like Catch The Sun, with disembodied voices cameoing alongside burbling electrified keys and perfectly-judged guitar breaks, the lyrics appear to denote a struggle in which the protagonist declines to blink first in the face of an unnamed opponent. With Broken Eyes that follows, The Universal Want climbs to its feet in delicately introspective mood. “There have been a lot of casualties in my past and I think some of these lyrics hint at that,” says Jimi. “We shouldn’t be afraid to reference the damage that life can do.”\u003cbr\u003e\u003cbr\u003e Time has passed and people, quite publicly and privately, have come and gone. Lost in mind, body or both. Seeing years slowly tick by, the impetus for Doves to come back together came with consideration for each other’s wellbeing. It had to be fun again. “Now it’s OK to just say: ‘I am going to bail’ if you’re not feeling it,” says Jimi. “Whereas, in the past, I’d probably have been mortified to skip a session. We can look at each other now and say: ‘I don’t really want to do this today’ and we all know that it will be alright.” It helps that Doves don’t need to take to the live room for days on end to make a record, instead exploring the potential of the studio as another instrument. “We always tend to avoid just plugging in and playing,” says Jez. “We play with our hearts as a band for the feeling, but with our heads the rest of the time at the computer.”\u003cbr\u003e\u003cbr\u003e Yearning euphoria, a tightrope between tears and laughter, desolation and hope, is an indefinable mood that Doves have long since mastered. For Tomorrow proves the point, a track that the band approached with their long-held ambition to write a soundtrack in mind, as well as aping the lush, wall-to-wall sounds of sixties psychedelic soul pouring from bands like Rotary Connection. Here, like the gut punch of Cathedrals Of The Mind that follows, Goodwin’s vocal brings with it the baggage that he says time has added to his journey. Vulnerable, sincere, yet as assured as any performance in the past, these songs are case studies in finding and leaving space for every line to hit as hard as it can. When it comes to what they’re about, it’s open to interpretation, like so much else. Andy says: “’Cathedrals Of The Mind’ was actually one of the first ones that caught Jimi’s ear for us to work on together. It’s about being haunted by someone. It’s usually the case that you write subconsciously with people in mind, without the song being written about them.”\u003cbr\u003e\u003cbr\u003e Doves worked on songs, without working on an album. For a long time, they didn’t know they had one to give. It was Prisoners, a driving toe-tapper that leapt to life from a self-recorded loop Goodwin had developed to then become a loose Northern Soul homage, which Jez identifies as a turning point. With lyrics written separately, they all landed on the same page, coalescing in an indictment of desire and advising caution in what you wish for. “Before that point, I didn’t think we had a complete album,” recalls Jez. “It brought it together. We stopped thinking ‘don’t we need a weird one?’ or ‘don’t we need a dance one?’. It had come together.” A sense of unstoppable momentum continues through Cycle Of Hurt, a two-hander with Jez and Jimi sharing vocals, grooving onwards into the title track, Universal Want.\u003cbr\u003e\u003cbr\u003e The past may be a foreign country, but Doves don’t mind visiting from time to time. Lyrically peppering modern life’s blind alleys of consumerism and misdirected aspiration with hostile fire once more (How long, til we see what we really want? \/ What we really need?), Universal Want features a remarkable handbrake turn. It’s piano-led stream of hymnal tranquillity breaks out into an unforeseen torrent just past the half way mark. Briefly a Sympathy For The Devil stomp, then a jaw- dropping house groove, it paints pictures of imagined nights in Detroit or Chicago and familiar dancefloors they knew closer to home. Jez says: “It’s a nod to our Hacienda days with the electronic bass at the end. Just thinking about walking in through those plastic flap doors into the club and the heat hitting you.”\u003cbr\u003e\u003cbr\u003e Closing with Forest House, Doves are back in seclusion. Gently closing out with a sparse arrangement that first came to life during that first session in the Peak District, the story appears to come full circle. “It’s about being at one with nature, meeting with someone you love in the open and spending time with them,” says Andy. Perhaps, it’s suggested, this meeting of a loved one, away from the gaze of scrutiny, in a rural location is poignantly autobiographical. “Or it could be Doves as grown-ups with responsibilities, gazing wistfully at our salad days, not going home for whole summers of freedom and to hell with the consequences,” shoots Jimi, claiming the final word. Perhaps it’s best all round that the listener works it out. \u003cbr\u003e\u003cbr\u003e Manchester, England. April 2020.\n\u003ch5\u003ePress Release\u003c\/h5\u003e\nIn 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, on Fri 11 September 2020. \u003cbr\u003e\u003cbr\u003e 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. \u003cbr\u003e\u003cbr\u003e “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.\u003cbr\u003e\u003cbr\u003e 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. \u003cbr\u003e\u003cbr\u003e 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.\u003cbr\u003e\u003cbr\u003e 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. \u003cbr\u003e\u003cbr\u003e 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.”\u003cbr\u003e\u003cbr\u003e 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.\u003cbr\u003e\u003cbr\u003e 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.”\u003cbr\u003e Rewarding fans for ten years’ worth of patience, and welcoming new fans into the fold in style, Doves release The Universal Want in multiple, special edition formats including a sought-after box","brand":"Universal","offers":[{"title":"White","offer_id":33133518553176,"sku":"","price":21.99,"currency_code":"GBP","in_stock":false},{"title":"Boxset","offer_id":33133518585944,"sku":"","price":89.99,"currency_code":"GBP","in_stock":false},{"title":"Black","offer_id":33133518618712,"sku":"","price":19.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/5008\/5193\/products\/1_274b337d-5dcd-412f-822f-4ebfa7802653.jpg?v=1594371307"},{"product_id":"de-la-soul-3-feet-high-and-rising-2lp-magenta-vinyl","title":"De La Soul - 3 Feet High And Rising (2LP Magenta Vinyl)","description":"\u003ch5\u003eDescription\u003c\/h5\u003e\n\u003cp\u003e3 Feet High and Rising is the debut studio album by hip hop trio De La Soul and was released on March 3, 1989 It marked the first of three full- length collaborations with producer Prince Paul, which would become the critical and commercial peak of both parties. 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Armed with just a microphone and a laptop, in less than a year the Dublin based producer went from playing his first show in a local squat to performing live at Kentish Town Forum, London, supporting post-punk legends Public Image Ltd. Meryl Streek’s debut album ‘796’ (2022) cemented itself as one of the most visceral, important political records of the decade so far, with one critic praising it as “the most incendiary and important punk rock album of the year” (Paul Brannigan\/Louder).\u003c\/p\u003e\n\u003cp\u003eThough rooted in Irish socio-political commentary, the album’s themes resonated with people around the world, leading to live performances across Europe and as far as Gran Canaria. ‘Songs For The Deceased’ once again saw the Irish artist enter Darklands Audio with producer Dan Doherty (Fontaines D.C.). 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Meryl Streek’s debut album ‘796’ (2022) cemented itself as one of the most visceral, important political records of the decade so far, with one critic praising it as “the most incendiary and important punk rock album of the year” (Paul Brannigan\/Louder).\u003c\/p\u003e\n\u003cp\u003eThough rooted in Irish socio-political commentary, the album’s themes resonated with people around the world, leading to live performances across Europe and as far as Gran Canaria. ‘Songs For The Deceased’ once again saw the Irish artist enter Darklands Audio with producer Dan Doherty (Fontaines D.C.). The outcome is a kaleidoscopic fusion of news samples, distorted guitars, electronic beats, and traditional Irish music, all laying the foundation for Streek’s impassioned spoken word performance.\u003c\/p\u003e\n\u003cp\u003eTo push the music into new spaces, Meryl Streek invited guest musicians to collaborate. Benefits’ Kingsley Hall provides spoken word to the album’s ‘Interlude’, Cal Graham from UK punks The Chisel appears on ‘Dogs’ and influential guitarist Oliver Ackermann (A Place to Bury Strangers) delivers a feedback soaked outro for the song ‘Murder’.\u003c\/p\u003e\n\u003cp\u003eLyrically the songs veer from the deeply personal (‘Paddy’ is a tribute to his uncle Paddy, a unique individual who chose to live life by his own terms) to historic tragedies (‘Stardust’ remembers the victims of the fire that took place at the Stardust venue Feb 14th 1981, killing 48 people and leaving families begging for answers as to why the disaster happened in the first place). \u003c\/p\u003e\n\u003cp\u003e“This is a collection of stories about Betrayal, Murder, Injustice, and Corruption around my hometown of Dublin.” explains Meryl Streek. “It’s not just happening in Ireland, it’s happening around the world and we’re supposed to just take it lying down?”. 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Although this Kentucky combo had a short lifespan, its influence has been extraordinary, presaging the underground 'math-rock' revolution and spawning spinoffs such as the For Carnation and King Kong with members playing with Palace Brothers, Tortoise and a multitude more.","brand":"Cargo","offers":[{"title":"Default Title","offer_id":48970215489848,"sku":"","price":30.99,"currency_code":"GBP","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0035\/5008\/5193\/files\/WaxandBeansTemplate-2024-07-04T180743.459.png?v=1720112870"},{"product_id":"the-rifles-love-your-neighbour-cd","title":"The Rifles - Love Your Neighbour (CD) Signed by Joel and Luke","description":"\u003ch5\u003eDescription\u003c\/h5\u003e\n\u003cp\u003eIt’s been over seven years since The Rifles released their previous record, but now the east Londoners are set to return with their new album ‘Love Your Neighbour’ on April 26 which they today preview with the new single ‘The Kids Won’t Stop’.\u003c\/p\u003e\n\u003cp\u003eTheir previous two albums - ‘Big Life’ and ‘None The Wiser’ - achieved the highest chart positions of their career to date, while their cult-like popularity has continued in the intervening years with countless sold-out London shows at venues including the Roundhouse, O2 Shepherd’s Bush Empire, O2 Kentish Forum, KOKO, Electric Ballroom and Electric Brixton.\u003c\/p\u003e\n\u003cp\u003eThe triumphant reaction and electrifying energy of those shows inspired The Rifles as they sent about writing ‘Love Your Neighbour’. It’s a record which bursts with the traits that have inspired such devotion amongst fans: songs as gritty as they are anthemic, and full of lyrics which capture broadly relatable experiences and provide evocative snapshots of modern British life. The overriding message of the album is a plea to embrace the power of your local community. Vocalist\/guitarist Joel Stoker says, “‘Love Your Neighbour is saying we’re all in this big old mess together and it would be good to get along a bit more and enjoy it. Talk to people more, help each other out when you can, say good morning and maybe take your head away from your phone for 5 minutes and appreciate the people standing next to you. I’d like to think that the record captures life's daily situations that we all come across, all wrapped up in 3 minute bundles that you can sing along to.”\u003c\/p\u003e\n\u003cp\u003eThat’s an apt decision of the album’s lead single ‘The Kids Won’t Stop’. It starts with Joel reflecting on how life inevitably changes from the first flush of youth and into the demands of adulthood. But then it races into the frenetic melodic rush of its chorus, which contrasts an array of life’s daily annoyances with the kind of soaring, escapist hook which transports you to an altogether more positive state of mind. Joel adds, “‘The Kids Won’t Stop’ sums up most of our lives at the moment: constantly busy, no time to breathe... but you have to keep going! 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It’s a record which bursts with the traits that have inspired such devotion amongst fans: songs as gritty as they are anthemic, and full of lyrics which capture broadly relatable experiences and provide evocative snapshots of modern British life. The overriding message of the album is a plea to embrace the power of your local community. Vocalist\/guitarist Joel Stoker says, “‘Love Your Neighbour is saying we’re all in this big old mess together and it would be good to get along a bit more and enjoy it. Talk to people more, help each other out when you can, say good morning and maybe take your head away from your phone for 5 minutes and appreciate the people standing next to you. I’d like to think that the record captures life's daily situations that we all come across, all wrapped up in 3 minute bundles that you can sing along to.”\u003c\/p\u003e\n\u003cp\u003eThat’s an apt decision of the album’s lead single ‘The Kids Won’t Stop’. 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It still has the high energy Rifles sound, but with a more representative subject matter to our lives at the moment.\u003c\/p\u003e\n\u003cp\u003eIt is also a good indication of the sound for the album.” Completed by Lucas Crowther (guitar), Rob Pyne (bass), Grant Marsh (drums) and Deano Mumford (keys), The Rifles have nonetheless had plenty going on since since releasing ‘Big Life’ in 2016: regular headline shows and festivals, Joel’s acclaimed debut solo album ‘The Undertow’, a singles collection, an acoustic album recorded at Abbey Road and a live album from London’s Roundhouse. But the predominant factor has been the demands of their lives outside the band, which has made it hard for them to find an opportunity to all be able to work together. 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