Keane Albums (3)
What The Critics Say
Keane bids adieu to uplifting ballads and ushers in a different style -- '80s-influenced pop -- with Perfect Symmetry. While the album isn't solely devoted to exploring that new genre, it's certainly the focus, and "Spiralling" appropriately kickstarts the set with whooping vocals and retro synthesizers. "When we fall in love," sings Tom Chaplin in his Wembley-geared voice, "we're just falling in love with ourselves." Coming from the same mouth that once crooned the over-earnest strains of "Somewhere Only We Know," those lyrics are wholly different -- a sign that four years spent in the shadow of U2, Coldplay, and other like-minded bands have convinced Keane to make their own Achtung Baby. Of course, that album saw U2 turning sonic experimentation into something entirely inventive, which Perfect Symmetry doesn't quite accomplish with its own mixture. This isn't quite art, after all; it's mostly just fun, shot through with a self-consciously cheesy approach that's engineered to sound little like the department-store rock of 2004's Hopes and Fears. "Fun" seems to be at the top of the band's agenda, though, and Perfect Symmetry accordingly succeeds in doing away with most of the pre-conceived notions that accompany Keane records. The "old" sound doesn't even surface until midway through the album, when the album's title track offers up a combination of sparse piano notes (later giving way to dense, double-fisted arpeggios) and a meteoric melody in the chorus. But that's the exception, not the rule, and Perfect Symmetry sounds more comfortable during its truly unexpected moments: the spacy blips and bleeps of "You Haven't Told Me Anything," the synthesized anthem "Again and Again," and the energetic "Wooooooh!" that opens the entire album. The band's underlying strength remains Chaplin's ability to turn a melodic phrase with grace and dexterity, which fails to lose its vitality no matter the musical context, but Keane's willingness to take these left-hand turns deserves its own share of accolades. ~ Andrew Leahey, All Music Guide
What The Critics Say
In the two years since releasing their debut album Hopes and Fears, Keane has quickly established itself an integral part of the mainstream rock canon. Hit singles such as "Somewhere Only We Know," "Bedshaped," and "Everything's Changing" made Hopes and Fears a transatlantic hit, earning the trio two Brit Awards, a Grammy nomination, and a host of sold-out world tours. They're as likeable and as accessible as Coldplay yet Keane's return isn't as buoyant as their initial introduction. Whereas Hopes and Fears faced uncertainty head on with joyous enthusiasm, Under the Iron Sea is a darker, less romantic set of songs affected by a disenchanted outlook on life and the world's problems. Keane feels the frustration of a world torn apart by war, but also expresses their own growing pains as a group. Songs such as the grayish ebb and flow of "A Bad Dream" and "Crystal Ball" connect with such reflections. Frontman Tom Chaplin faces the disappointment of growing older on the haunting "Atlantic," another stone-cold gem of synthesizer strings and Tim Rice-Oxley's gorgeous piano delivery. When you think it might be totally depressing, there are some hints of life hidden in the corners of Under the Iron Sea and these mysterious loops highlight Keane's new sonic experiments. Thus far they've existed without guitars. Though the bounty of this record breathes with a collection of various analog synths and an old electric piano, Rice-Oxley's usual performance is now enhanced with a bevy of guitar effect pedals. Debut single "It Is Any Wonder?" is layered with pianos and Chaplin cries out, "Stranded in the wrong time/Where love is just a lyric in a children's rhyme, a soundbite." Such words capture how crucial it was for Keane to come up with something that's tangible and thought-provoking, but the guitar pedals are just a bit too dramatic. Keane should be applauded for going after a different sound; there's no harm in that, but die-hard fans might rush to judge Under the Iron Sea as sounding a bit too much like U2. ~ MacKenzie Wilson, All Music Guide
What The Critics Say
The English music press can never let anyone be. They're always quick to hail the next big thing and, in this case, the next big Coldplay is Keane. Lowgold briefly held that title upon its debut release in 2001, but U.K. critics rushed to give that crown to someone else just because that's what they like to do. Keane didn't ask for it, but perhaps it's the overall majestic presentation of the band's debut album, Hopes and Fears, that does it. That and the fact that the Sussex trio doesn't rely on a formula of lilting melodies and feverish guitars to carry the weight of the album. Keane haven't positioned themselves to be kings of anything, let alone the next Coldplay. They sound nothing like Chris Martin and Co. Sure, Coldplay's biggest hit to date, "Clocks," included only pianos, and they released the Safety EP on Fierce Panda, which is also Keane's label, but those are the only things Keane have in common with Coldplay. Alongside their beautiful, emotive dalliance of instrumentation is one thing that'll separate Keane from all the rest, and that's drive. The band's heartfelt ambition on Hopes and Fears is right there. It's impossible not to reach for it, really. Lead vocalist Tom Chaplin's rich vocals are as vibrant as any choir, and songs such as "This Is the Last Time," "Bend and Break," and "Can't Stop Now" reflect Keane's more savory, dramatic moments. Confidence bursts throughout, and for a band that has been around seven years and has never released a studio full-length album until now, achieving nearly epic-like status is quite impressive. Keane obviously have the songs and they have a strong voice leading the front; however, Tim Rice-Oxley (piano/keyboards/bass) and Richard Hughes (drums) allow Hopes and Fears to come alive with glamour and without the sheen of slick studio production. Even slow build-up tracks like "Bedshaped" and "We Might as Well Be Strangers" are just as passionate, if not more so, than some of the bigger numbers on the album. Some might find Keane's debut a bit stagy, or too theatrical at first, but that's okay. Listening to "Somewhere Only We Know" alone a few times is more than enough to convince you that Keane stand next to Coldplay, challenging them, and it's a respectable match at that. [The international edition appends a bonus track.] ~ MacKenzie Wilson, All Music Guide
