Keane
Perfect Symmetry

THE REVIEW

Many things have happened in these two years of Keane's absence from the music scene.

The "piano rock" (this is how the musical proposal contained in the hugely successful debut of the English band was named, that "Hopes And Fears" which sold more than five million copies worldwide) has become a genre greatly appreciated by the public and critics alike: numerous bands have profited from the explosion (even in America) of Chaplin and company (The Fray and One Republic are the most famous, but not necessarily the best).

Initially mistakenly compared to the more famous Coldplay, Keane, after a very beautiful second album ("Under The Iron Sea") that already partially distanced itself from the reassuring sounds of the debut work, underwent a severe internal crisis that brought them to the brink of a definitive breakup. The singer’s drug and alcohol problems (and some rumored internal tensions) shook the band's stability, which, after overcoming all difficulties, returns to the music market with this new work, titled "Perfect Symmetry".

Let's start by saying that this new work presents two very distinct facets: on one hand, the continuation of the path started with "Hopes And Fears", and on the other hand, the desire to do new things more in line with the influences of each band member (in this sense, the re-insertion of the guitar into the band's sound is noteworthy). It happens, therefore, that the album opens with one of Keane's most beautiful and surprising songs, the first single "Spiralling" (synth pop very, very kitschy), then moves on to the second single "The Lovers Are Losing", almost a "Crystal Ball" part two. "Better Than This", although not shining at all, gives the first signs of "reversal", and from here on, it's a swing between poignant and blatantly "Keane-like" piano ballads (the title track, "You Don't See Me" and "Love Is The End") and rather evident eighties pop influences, as in the excellent "Again And Again" and "Black Burning Heart".

Things go a bit worse when the band overdoes it a little, as in the disconnected "Pretend That You're Alone" (where Chaplin seems convinced he's Brett Anderson, obviously making a big mistake) or in the insipid "You Haven't Told Me Anything" (under the synthetic dress, nothing). But, as in the most beautiful plot twists, a fall corresponds to a rise, and thus emerges a sumptuous "Playing Along", reminiscent of the best episodes of Radiohead's "The Bends" era (with due proportions).

This "Perfect Symmetry" album positions itself in the discography of the British band as the most classic of transitional albums. Hoping that the next possible definitive transformation will be a new musical life.

Otherwise, it would be a real shame.

Key Tracks: "Spiralling", "Perfect Symmetry", "Playing Along", "Black Burning Heart"