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51 of 54 people found the following review helpful:
4.0 out of 5 stars
An honest and occasionally brilliant reinvention, but it may not be for everyone..., October 14, 2008
What to expect from a band who already released the perfect Brit-pop album (Hopes & Fears), then who darkened and deepened that formula for their very good (if not quite perfect) follow up Under the Iron Sea? Well, I'm not sure that this album was what anyone was expecting...but it has much of the brilliance that these boys are capable of delivering.
It has already been noted by other reviewers that the first 5 songs are very influenced by the 80's. At worst, it is just a bit confusing: witness the third track "Better Than This"--gone are the pianos, replaced almost completely by synths, all detuned slightly. I hear hints of Oingo Boingo here, and I'm not sure if that is good. At best, it produces some really effective pop music--the synth intro of Again and Again sounds much more like an homage to the 80's than a pastiche.
On the best tracks of the album, the neo-80's influences meld beautifully with the honest piano driven melodies into a synthesis that is greater than the sum of its parts. The title track is one of the finest examples of this. Just when you are getting into a very comfortable groove on the song, the bittersweet bridge kicks in and smacks you in the face with why you loved this band in the first place.
There are definitely some tracks for those who long for the soaring melodies and purity of voice found throughout the first album. The title track, to which I have already alluded, is really a standout in the melody department. The final track on the album is also quite lovely, reminiscent of a simpler version of Keane.
Lyrically, the whole album has a lot to offer. The title track is haunting in its understanding of the challenges of modern life, juxtaposing melodic beauty with the disjointed feeling that technology can give. "I dream in emails, worn out phrases", Tom intones, "My life, my life, just empty pages...". On You Don't See Me, he practically begs the hearer to see what is going on around them, instead of having the moment to moment move too fast to hold: "Moving at the speed of life, reflected in each others eyes, but you're moving so fast in this beautiful scene, you don't see me..."
This is a very fine album by a group that can probably turn out very fine music without trying very hard, and if you catch a bit of criticism there, well, it is just because I know that Very Good is not quite as good as they can deliver. I expect a lot of these guys, as I know they can give it. I definitely found much to love in this album--I applaud them their experimentation, the desire to stretch themselves musically--I think that this desire will keep them a viable band for a much longer time than simply repeating the formula of their first album. The songwriting is good, and the melodies are strong and interesting. Even so, there are some definite missteps here: Tom's voice sounds strained at times, the 80's instrumentation on the first half of the album does not work completely, and the decreased emphasis on the piano may not be their absolute best idea ever, but repeat listens prove even the missteps have their charm. This album is definitely not for those who love only the first album. This album is also not for someone looking for a clone of Under the Iron Sea. This is an excellent album for the fan who is committed to following the band develop over time, who believe in the power of these guys to move them emotionally. If you approach this album with an open mind and a willing ear, you will not be disappointed and you may find some moments to genuinely love.
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31 of 37 people found the following review helpful:
3.0 out of 5 stars
Imperfect Symmetry: Kean returns but not as we've known them, October 15, 2008
They say you shouldn't judge a book by it's cover nor an album by its art. However, in the case of Keane's third album, Perfect Symmetry, there are some real similarities between the cover art and the music. Keane has pulled together an interesting collection of musical styles and influences, creating an overall effect something like the fractal images on the album cover itself. Fans of the first two albums (myself included) might find themselves unsure what to make of their use of vibrato key-board instead of their traditional (and crystal clear) piano, of their 80s influenced retro sound, or their departure from ballad choruses with some of the best pop hooks in the business.
The album starts off with the best track first. Spiraling is witty, fun, and has a dance/funk feel. Full of energy, lyrical, and incredibly listenable, the first track sets you up for a huge disappointment in the next few tracks to follow.
"The Lovers are Losing," "Better than This," and "You Haven't Told Me Anything," have an 80s feel that simply isn't what I've come to expect from Keane. "You can do so much better than this," the chorus to track #2 feels appropriate. Synthetic drums don't quite jive with the guitars in track #4, and take away from the lyrics, the only redeeming element of the song.
Track #5, "Perfect Symmetry" offers a welcome return to what makes Keane excellent: solid piano, compelling lyrics, and of course the wonderful voice of Tom Chaplin. The song carries the same melancholic tones that fuel both of Keane's first two albums, and that create the 'mood' that I have come to associate with Keane. I love to play their stuff after a long day at work, and this song will take it's place on my 'cool down,' play list.
"You Don't See Me," is another solid effort, combining a vibro-synth keyboard with Tom's voice which creates a nice dynamic reminiscent of U2's "All That You Can't Leave Behind" album.
"Again & Again," carries some of the energy of "Spiraling," and is another hybrid of Keane's old style and their new fascination with synth influences and 80s era sound. The chorus is fantastic. "It was in your eyes, in your eyes, they were just easy lies..."
"Playing Along," is an average track, with an Oasis feel to it. It's the most rock influenced track with strong electric guitars taking center stage rather than the keyboard that dominates the rest of the album. Not incredible, but listenable, this song just doesn't do it for me. If you're an Oasis fan, this will probably be your favorite track.
"Pretend That You're Alone," is terrible, and my least favorite track on the CD. The funk influence is there once more, but this time it is smashed together with Keane's piano-rock heritage. The result is painful to listen to.
"Black Burning Heart," is an ok track. It seems a little too slow until the chorus hits. However by that time the song has lost it's momentum.
"Love Is the End," is a quiet little love song, both breezy and sad. It's probably my third favorite track because it doesn't try to do too much, and is content to just tell a good story without the music overwhelming it.
Overall, this is not a bad album, it just isn't the excellent album that I hoped it would be. There are elements of it that are great, and others that are quite poor. It comes across as an album not sure what its identity is. All the pieces are there, but like the cover, they've not been arranged correctly and sometimes even clash.
If you're a fan of Keane, buy the CD, there are a half dozen decent tracks. If you're new to Keane, get Under the Iron Sea instead. Follow that up with Hopes and Fears and only make your way to "Perfect Symmetry," once you've exhausted those two superior albums.
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8 of 10 people found the following review helpful:
3.0 out of 5 stars
A Different Direction, October 15, 2008
First, I actually give this 3 and a half stars.
I am a huge Keane fan, but was somewhat horrified after hearing 'Spiralling' as the first single. Parts of the song are great, but I can't get over the 'Oooooo' that riddles the song.
There are only a handful of songs on this CD that I really care for; 'Perfect Symmetry' is pure Keane genius, emotional and powerful; 'You Don't See Me' is also nothing short of brilliant; 'The Lovers Are Losing' offers hook after hook, and right now is my favorite song on the album; 'Love Is The End' offers a nice closing to the CD w/some very thoughtful lyrics and melodies; 'Black Burning Heart' is def. starting to grow on me too....
And while I admire the fact they wanted to change their direction, personally it doesn't really work for me; Most of the other songs sound like 80's influenced pop or even some of their own weaker B-sides from the previous albums.
The production is pretty amazing, and they all sound like they are musically in top form; Tom sounds fantastic, and the group has done a decent job of establishing a new path.
I was really looking forward to this CD, and I would have to say I am a little disappointed after waiting 2 years for something new. It's not a bad CD by any means, and I'm sure some songs will grow on me given the chance; New fans might latch onto this right away, but much of the newer material is too much of a departure for me.
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