My disclaimer first: I've passed 40, and am hardly at the cutting edge of musical trends anymore. Twenty years ago I ate, slept, and breathed music, and had opinions to spew out to anyone who would listen. Now my reviews must be accompanied by a potent dose of humility. I'm no longer in a position to judge how original or innovative is this record, relative to others' output.
But I will say this; If I'd heard more recordings like this one in recent years, I would have been inspired to pay a lot more attention.
I was first drawn to this band by the grandly beautiful "Somewhere Only We Know," that rarity among popular songs, in that I found myself scanning the radio searching deliberately for it. It had everything -- wonderful composition, terrific execution. Chaplin leaping up to the top of the minor seventh to sing the choruses, and the gorgeous way the melody winds down at the end. Paul McCartney himself would be proud of that song (I find myself wondering occasionally if Sir Paul has heard this one, as I would bet it would appeal to him.)
I assumed this band might well be a one-hit wonder until I heard them play a live concert on a local radio station recently, and I then realized how much else they could do. That performance convinced me to buy the record.
It feels good to be excited about a new band again.
It's hard to describe music in a way that informs a listener. You will like this if you appreciate clever songwriting with an attention to both coherent melody and some harmonic originality. The instrumentation is all keyboards, voice and drums, with the variety of keyboards creating a smooth, pleasant sound. The piano playing has a fair amount of octave playing in it, almost reminiscent of Rachmaninoff. I suspect that Rice-Oxley must have had a decent classical training.
This is simply an astonishing record. I still believe the first song to be the best one, but the craftsmanship throughout the record is amazing. Keane has an incredible gift for irresistible climactic chorus-writing. I also love their patience. They don't show their full hand at the beginning of a song, but rather compose competent and workmanlike verses that build up to really shimmering high points.
Chaplin's voice is hauntingly beautiful, especially when he reaches for a high note and delivers it with accuracy and passion. I don't know quite how to describe it other than to say that it's rare to simply enjoy the sound of a singer's voice so much.
Rice-Oxley is obviously responsible for a lot of the musical effect. It's he who drives Somewhere Only We Know to great heights, and it's also he who plays with such restraint and purpose on the tunes that are dominated by Chaplin's singing. On first listen, I was struck by Chaplin's voice, but on the second, I had decided that Rice-Oxley was really the genius in the band.
Having said that, however, one shouldn't overlook the degree to which certain songs depend utterly on Chaplin's voice. Each of We Might As Well Be Strangers, She Has No Time, Sunshine, and Untitled I are really vehicles for showcasing his voice to a different effect, and would have little meaning apart from Chaplin's delivery.
And, truly, if Chaplin hadn't recorded Somewhere Only We Know so beautifully, I probably would never have bought this record.
The album has a curious symmetry to it. It begins with the majestic Somewhere Only We Know, and ends with the most dramatic cut, Bedshaped. The second and third tunes somewhat resemble each other, as do the second and third ones from the end. (This is the Last Time, and Bend and Break, are both up-tempo, lyrical poppish pieces that follow directly after one another. Sunshine and Untitled I, which appear near the end, are ethereal, mysterious pieces built upon an eerie filtering and doubling of Chaplin's voice.) In between, the pace of the album seems very modulated, as though the symmetry is an intentional effect.
A few comments on the pieces in turn:
Somewhere Only We Know -- The best song on the album, and one of the finest pop songs I've ever heard
This is the Last Time -- Up-tempo pop piece with a terrific chorus, beautifully sung by Chaplin.
Bend and Break -- Similar, and I actually like it a little better. But the chorus requires similar performance skills from Chaplin, and gets them. Love to hear him reach for the higher notes starting the chorus.
We Might as well be Strangers -- The melody seems so inconsequential, but I love this piece. It's all about Chaplin ascending a kind of musical staircase, with a terrific climax the second time he gets to the top. The theme of lost love is an old one but here it seems to carry a precise meaning unique to this song.
Everybody's Changing -- After Somewhere Only We Know, the catchiest song on the album.
Your Eyes Open -- One of the less exceptional compositions on the album, it's made memorable by the perfect match of the melody in the chorus and the effect applied to Chaplin's voice. A sugary smooth sound, if that makes any sense.
She Has No Time -- Oh, so quiet and delicate, with Chaplin singing in a high falsetto. It took me a few listens, but I now think this is one of the very best songs on the album, certainly among the most beautiful.
Can't Stop Now -- Catchy, this is probably one of the few times on the album where Chaplin's noisy inhalations become a distraction. He often gets right up to the line of over-emoting, and on this cut he crossed it. A nice tune, though, and the chorus has its moments. Still a great cut.
Sunshine -- Someone described this sweet, ethereal piece as a shaft of a light in a dark room, and it fits perfectly.
Untitled I -- Sunshine's slightly more mysterious counterpart. Again, a bit glimmering, even spooky.
Bedshaped -- This is one of the more dramatic, bombastic pieces on the album. I haven't quite figured out yet what it is all about, but it is definitely not a shy piece.
If I had to pick the best songs on the record, I'd probably select: Somewhere Only We Know, She Has No Time, Bend and Break. But This is the Last Time and Everybody's Changing are both absolutely terrific and catchy songs also, and I have a real soft spot for We Might as Well Be Strangers.
I find myself hoping that Keane remains very disciplined about their craft and expanding their horizons. They have tremendous songwriting and performing ability; their task now is to explore beyond the sound they have perfected, and really bring all of their creative talents to bear. If they do, they could be a band for the ages.