Odysseus 2008-12-28
1 of 1 people found the following review helpful:
Lord, I love this band.
Keane's third full-length CD is a fairly daring departure from their first two. Synthesizer effects and 1980's-style electropop sounds abound, as several other reviewers have noted. But attempting to pigeonhole the music, it seems to me, leaves something out - namely, that no matter what the style, Keane brings to it their incomparable melodic sense and their gift for the emotionally stirring.
The record isn't quite as hummable as their debut "Hopes and Fears," but then what record is? Upon first listen to this one, my first impression was that it was the weakest of the three albums, but by the third listen, I found the pieces as fully infectious as those on "Under the Iron Sea," which is for my money their greatest. With each of Keane's terrific discs, we're talking in shades of five stars.
Unquestionably, there are some choices, particularly in the first couple of tracks, that are off-putting. I think in particular of a horrid synthesized "WHOOO!!" that rings in the opener, "Spiralling." An otherwise strong track is badly undermined by sonic effects that sound like they were lifted from a bad dance film circa 1983.
More often than not, however, the counterintuitive choices work. The third track, "Better Than This," begins with a weird, dissonant high synth sound, soon joined by Chaplin singing in a falsetto so high that even his super-elastic voice must strain. But soon the cut melts into a melodic refrain that is joyous, irresistible and impossible to categorize. It sounds to me part juju, part Jamaican, definitely World Beat-ish - my wife found it to be purely 1980s retro. Whatever; it's a distinct, incongruous blend of sounds, and it works. You'll be singing this one festively in little time.
Generalizations first: the music here is more complex and textured, certainly than on their first album, and at least as much as on their second. Piano isn't often used as a straight rhythm instrument here - when it appears, it's usually to add a note of delicacy to a fuller, lusher sound.
Despite the high concentration of up-tempo tunes on the record, the lyrics are fairly bleak, finding Keane often in a state of heartbreak, depression, disappointment or ennui. It's far from one-dimensional, though; their lyrics are achieving a touch of fine poetry, with the capacity to precisely evoke a distinct moment.
In contrast with their first record, which blasts out of the gate with five unforgettably catchy numbers, Perfect Symmetry has a somewhat reversed flow. The pieces grow in strength and meaning as the album moves along. Some of the first few seem a bit quirky, but by the middle of the album and on to the end, Keane is at their gut-wrenching best.
Chaplin is still the finest pop singer around, and on this record really tests the limits of his vocal range and power. His voice isn't presented "up close and personal" to the extent of the first two albums, though, so the listener has fewer opportunities just to luxuriate in his timbre. Still, there are a few cuts on which his voice will leave you gasping.
There are no bad songs on the album; they're all good, and some are truly great, adding to Keane's growing catalogue of classic pop pieces.
Now on to specifics: two highlights of the album are two gorgeous ballads, "Love is the End," and "You Don't See Me." "Love is the End" is the more intense of the two, and will no doubt be seen as one of Keane's greatest performances. "You Don't See Me," however, has a gentle beauty that is not to be overlooked.
One cut, "Black Burning Heart," exemplifies my reaction to this album. When I first heard it, I shrugged and found it unremarkable. On second and third listens, however, I found it haunting, perhaps the most emotional on the record, despite its standard up-tempo construct. This one really sneaks up on the listener; don't overlook it.
Two other standouts are "Again and Again," which may be the prototypical track on the record (80's style synth, urgent lyrics, danceable tempo) and "Better Than This," described above.
Upon repeat listenings, I find very little to criticize, other than the unfortunate opening to "Spiralling," and a sense that the song "Perfect Symmetry" isn't as portentous as Keane tries to make it sound. But still - those are both very good tunes. And for the record, I also like the jovial "Pretend That You're Alone."
Keane continues to grow, change, and to deliver the most distinctive, meaningful, exhilarating pop music around. This is yet another five star recording.
