Album Review: Keane - Perfect Symmetry (4/5)

The dreaded sophomore slump hit Keane pretty hard. It wasn't the music that suffered--Under the Iron Sea, while not as good as Hopes and Fears, was an accomplished album--but the band itself, with drug addiction and creative differences threatening to tear it apart. It was a shock to behold from such a seemingly mild-mannered group of guys, but such is the narcotic influence of fame.

By all accounts lead singer Tom Chaplin is clean and sober now, and the band has a renewed spirit. It's certainly evident on Perfect Symmetry. While Iron Sea had a similar albeit darker sound to Hopes and Fears, the album finds the band taking new directions, incorporating '80s new wave influences and (gasp) guitar.

"Spiralling," clearly influenced by David Bowie's "Let's Dance," leads the set with a confident strut. Tim Rice-Oxley's piano arrangement is still here but combined by a heavy synth bass line. It's brasher than we're used to hearing the band, which has been plagued by detractors' accusations that they are boring and too quiet (to which I read they once suggested, why not turn up the volume then?). "The Lovers are Losing" is musically more similar to their previous work--melodic, piano-driven pop rock, although this time there are guitars in the mix as well.

"Better Than This" is an odd track. It has a folksier sound owing to the handclaps and banjo (synthesized I believe, as there is no banjo listed in the liner notes). The '80s synths and drum machine beats come out on "You Haven't Told Me Anything." While I do love "Spiralling," neitehr of these two tracks really grab me. Perhaps I'm missing the good ol' Keane?

Not to fear, "Perfect Symmetry" is as lovely as ever a traditional Keane track--mid-tempo with a sharp piano refrain backing the soaring chorus. They tack on a sing-along at the end, the choir and Tom declaring "I dream in emails, worn out phrases." While I like the song, the ending is a bit over the the top. "You Don't See Me" is more understated and also lovely, and again has a particularly good piano part.

"Again and Again" moves the tempo back up and brings back some '80s-sounding synths into the big melody. The band catches its breath briefly in the middle before releashing the full onslaught of synths, piano, and guitar at the end. Stuart Price co-produced this track, along with "Black Burning Heart," which finds Tom in earnest belter mode. His influence on these is very slight--neither feels like a Confessions on the Dancefloor retreated like the album he produced last year for Seal did (will be interesting to see what he does with the Killers next month).

"Playing Along" is another odd one. It feels rather slight until it releases a brief volley of raspy electric guitar, but then goes back to its plodding melodic self. Then there's another burst and the song surges with Tom singing "I'm going to turn up the volume 'til I can't even think." It's about shutting out the world, but I can't help thinking is also a slap to those Keane detractors I mentioned earlier. "Pretend that You're Alone" is sort of...jaunty I guess is the word, throwing in saxophone--a Keane first. They wrap it up with tastefully restrained "Love is the End"--a predictable finale.

So here's the rub. I can't say I love this album, which is sad, since I've been such a champion of the band. Hopes and Fears was my favorite album of 2004--I loved it and listened to it constantly. And I liked Under the Iron Sea a lot, particularly "A Bad Dream," which I listen to all the time. I can't find fault with Perfect Symmetry--it's a great album--but it's not going down as a personal favorite. Despite their experimentation, which I applaud, much of this feels very familiar without being as interesting as what they've done before. There's no "Everybody's Changing" or "A Bad Dream" to really grab hold and make me feel the music. I feel like I'm breaking up with them, while urging "it's not you...it's me."

Best: Spiralling, Perfect Symmetry, The Lovers Are Losing, You Don't See Me, Again and Again