Even though I was fathoming my first fumblings with a fat female, hopelessly ballsing my GCSEs by giving existentialist answers to straightforward questions and condemning myself to a lifetime of migraines by huffing glue from a sandwich bag, I only seem to have good memories of that time in my life just as I left school - around 1999/2000. It’s a little unbelievable considering how badly I’d already begun to spaff my life up but it’s true; I was satisfied with life because there was one constant; MTV2.

It was in front of the big telly at my then [Big-] bird’s house where I seemed to see the world for what it was for the first time. I cringed in fear as Robert Smith hid from a giant spider, held back the bile as Björk licked a man’s armpit and I sat breathless as the Beastie Boys battled inside a giant robot. I was too young for MTV the first time round but this, for some reason was the time of my discovery. Remember of course that despite being only a youngster, there was a period in my lifetime when there was no such thing as a Youtube (!)

Along with all the videos that I’ve since come to realise are MTV classics from what to me were exotic American artists like Beck (Loser), The Flaming Lips (She Don’t Use Jelly) or Presidents of the USA (Peaches), I was soaking up some really brilliant visual stuff from exciting new British groups - Damon Gough Taxiing folk around New York streets on his back was a daily highlight; the slow-motion mundanity of Muse’s Muscle Museum really entertained me too but one above all others stands out. It was a dark and kaleidoscopic video, swamped in neo-psychedelic images and whatnot. The music behind the visuals was Doves’ Catch the Sun, a “choooooon!” as I might have said at the time. I went out and bought a brace of records from artists I’d seen and scribbled the names onto to the back of my hand and took special care to make sure I nabbed Catch the Sun on CD and 10” to score the extra b-side. To listen to the stuff on the go though, I had to make mixtapes for my Sony Walkman which although arduous by today’s standards, was a way for me to be intimate with these recordings; the first ones I really got stuck into when I realised I was an Indie kid.

The tape that featured Catch the Sun served me well even though I played it until it warped and warbled. So yeah, that took it’s time but the point is, I have pleasant memories of bad times because they are soundtracked - amongst others - by Doves.

I subsequently followed Doves quite closely; both Lost Souls and The Last Broadcast were given an unhealthy number of plays whenever I had anything to do with it. Some Cities seemed to pass me by because my life wasn’t being accommodating to music at the time but I distinctly remember Black and White Town being played everywhere and that didn’t offend me. Right now though, I’m prepared for what Kingdom of Rust has to offer.

Because of their previous incarnation as Sub-Sub, I shouldn’t have been surprised to hear the album kick off with what is essentially a dance track. Jestream is one of those tracks that will come into its own on the big festival stages this Summer. It’s superb. Remember when New Order had a pseudo comeback with Get Ready? This track wouldn’t sound out of place on that album. The actual “dance” elements of the track are a little outdated to be quite frank, electronic music has moved on since the nineties but it would appear that these boys don’t care. I wouldn’t be surprised if the beats were actually generated using some obscure analogue synth and sequencer combo.

The title track, Kingdom of Rust is another standout piece, opening with a skiffle feel and solidly rolling via a Scott Walker song into a typically emphatic vocal on the chorus. Hummable sounds a bit throwaway but nevertheless it’s hummable.

The Outsiders is for me, the best track on the album. It’s all about the bass. It sounds dirty and anxious and ready to bite something. If I was so inclined I might eat some pills and say stuff like “This ones’ a f.uckin’ stormer” or “buzzin’!” but I’m not so I’ll just be happy letting you know that The Outsiders is brilliant.

As you start to pay serious attention to the details on this album you come to really fall for it and recognise it as something special despite it not really being in any way out of the ordinary, even for Doves - it just has some class songs on it, played well, by people who care.

When you consider that you could go and buy a TVOTR record, listen to The Aphex Twin or download something new from Bonnie ‘Prince’ Billy, there doesn’t seem to be a need for a Kingdom Of Rust but if you think about what Doves represent, you need to treat it with appropriate gravitas...

You don’t need a history lesson from me right now but for me, the Nineties were brilliant for alternative music in the UK (even if you discount ‘Britpop’). Cast your mind back to how awesome it was when you first heard Just or Wide Open Space and then draw the correlation to the newer breed, as was. Remember when Chris Martin wasn’t a yawping pipsqueak or when Matt Bellamy didn’t believe his own hype? That was alright y’know. To me, Doves were part of that British Indie sect that was trying hard not to be diluted or drowned by God-awful shit like Slipknot or Linkin Park et al.

Doves haven’t tried to change or be anything they’re not and they’ve continued to keep the flame alight as it were. Toy with the notion that the next best thing would seem to be the posturing twattery of Kasabian or the supreme cock-smoking-bad-haircuttedness of The Enemy and you begin to realise the significance of Doves and Kingdom of Rust. Despite it aging and beginning to fall apart and despite the fact that all you need to be its (short-lived) ruler nowadays is a fringe and an Argos keyboard; this is still a kingdom - the kingdom that gave the world The Beatles, The Smiths and The Stone Roses. Doves openly acknowledge that and this record is testament to it. You should buy it so they can afford to make more just like it.

Release Date: 06/04/2009
Label: Heavenly / Virgin
Artist Website: www.doves.net

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