Keane
Hopes And Fears

THE REVIEW

On May 10, 2004, "Hopes And Fears," the debut album by Keane, was released. A decidedly original and unconventional band, given the complete absence of guitar in their original and somewhat melancholic sound. This might seem insane, but when listening to the CD, you absolutely don't miss this instrument, as it's brilliantly covered by the excellent use of the piano by Tim Rice-Oxley and the drums by Richard Hughes.

The singer, Tom Chaplin, has an excellent voice that can wonderfully adapt to different sounds, such as the urgent rhythm of "This is The Last Time" or the measured pace of "She Has No Time." The album captivates from the very first listen: Keane's music is of that kind which immediately reaches the hearts of those who listen to it. "Somewhere Only We Know" is an excellent debut, with lyrics dominated, like most of the other tracks, by an obvious melancholy. "This Is The Last Time" and "Bend and Break" follow the same track as the first song, while "We Might As Well Be Strangers" represents almost a shift in gear, transporting us into a more tranquil atmosphere. We thus arrive at the gem of the album, the standout piece, "Everybody's Changing," unfortunately instrumentalized by Vodafone in its continual commercials, and thus rendered almost commercial. It's a real pity because both the lyrics, dealing with the sudden change that everyone around us undergoes and in which we are involved ourselves, and the music, are astonishing in this track. The excellence in both components, along with Tom Chaplin's beautiful voice, make it the best song on the CD. This is followed by "Your Eyes Open," a slightly more optimistic piece, which marks the end of the first part of the album. The second part opens with "She Has No Time," a poignant, slow, and nostalgic ballad, which clarifies the leit-motif of the ensuing songs, except for "Can't Stop Now." "Sunshine" and "Untitled 1" indeed develop on the same mixture of elements that gave rise to "She Has No Time." And now, the concluding piece, a fitting epilogue to this beautiful CD. "Bedshaped," with its almost psychedelic start, is perhaps the song that best synthesizes Keane, having a very pleasant and immediate melody, but not for this reason banal.

Overall, an excellent album that can be listened to from the first to the last song and leaves good hopes for the next eagerly anticipated work of the Anglo-Saxon band.