Some Cities

by

Doves

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Three years have passed since the Doves put out the outstanding "Last Broadcast." Their third album, "Some Cities" take a slightly different tack. While their music is as powerful as ever, the Doves try some new musical styles -- ballads and a bit of dancepop -- woven in with the guitar rock. It may take a little while to grow on listeners, but it's worth it.

The songs are somewhat smaller in scale than what the Doves have done before. Instead of going for a continuously epic sound, the Doves opt for a more intimate sound to go with their home-village theme -- gentler, sadder and sometimes sweetier. In short, they go for gentle, eerie music, not dark grandeur. At least, not all the time.

The lead single "Black and White Town" strips things down to wavering keyboards and an insistent drumbeat. Some veer towards eerie sadness like "Someday Soon," while others retain the larger-than-life quality of the Doves' past work, complete with choruses and expansive vistas. These variations -- some little and sweet, some intricate -- make the album seem more musically mature.

It's always a shock to go home after a few years away, and discover the changes that people living there haven't even noticed. In a way, it's watching an old life slipping away. And it feels like the guys from Manchester are having a rude awakening to this in "Some Cities."

Not that everything here is depressing -- "Black and White Town" sounds like it was tailor-made to be a hit, with bored-youth lyrics and a dancey beat. It reaches back, maybe, to the Doves origins as "Sub Sub," a dance pop group. And the next-to-last song changes the mood to one of optimism. But reflections on their hometown and the past overshadow these, and lend the album the mournful beauty that the Doves do so well.

There has always been a symphonic sound to the Doves' music, and they apparently aren't about to change that. Not that I'm complaining -- few bands can pair crunchy guitars and synth with classical strings. At least, few can do it without sounding like they are trying too hard. In the case of the Doves, the classical edge merely adds a gloss to the panoramic rock music.

"Some Cities" lets the Doves stretch their wings (pun unintended, I swear), with some exquisite new musical styles and a poignant look back at their hometown. Absolutely stunning.

I can admit two things about this album: Yes, it is more 'commercially' driven, and it doesn't even come close to "Lost Souls."

But then again, "Lost Souls" is one of the most finely crafted and well-conceived albums ever made; approaching that level of greatness usually only happens once.

The opening couplet of 'Some Cities' and 'Black and White Town' up the ante immediately with the former's update of euphoric Bealtes-esque pop and the latter's dancehall-inspired bounce.

I think one reason why people are put off by this album is that, unlike "Lost Souls" and "Last Broadcast," the melodies don't jump out at you right away; the stripped-down etheral quality of most of these songs can take some getting used to. 'Snowden' introduces two melodic lines that bounce off and complement each other perfectly.

I'm not here to offer hollow praise, though. 'Almost Forgot Myself' threatens to disintigrate entirely, and 'The Storm' resurrects the carcass of Portishead when that's exactly what no one wants to hear. 'One of These Days' feels like it needed about two more weeks to incubate into what a Doves song should sound like.

But 'Walk in Fire,' the too-brief 'Shadows of Salford,' (which reminds me of 'A House' from "Lost Souls") 'Sky Starts Falling' and the moody 'Ambition' -- all memorable standouts -- make up for the disappointments.

I can acutually admit one more thing about this album -- it can't hold a candle to its predecessors, but it's only a disappointment considering the two gems that came before this album. The musicianship is there, and there in spades, but the Doves' trademark craftsmanship comes in a little below average. But c'mon, it's not *that* bad.