Disco de Keane: “Perfect Symmetry (Deluxe Edition)”

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

instead. Follow that up with

and only make your way to "Perfect Symmetry," once you've exhausted those two superior albums.

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.

I have been a Keane fan since the early days. I have everything they released and I could buy. I never understood the comparison to Coldplay. Is it solely because the two bands love keyboards? So did later Van Halen and neither British import sounds like the 80s rockers. Is it because both are British? So is Amy Winehouse, and neither band shares much in common with her except the accent - and the ability to innovate innovatively (i.e., unlike most others.)

Coldplay's orchestration and lyrics - and their artistic sensibilities - differ quite significantly from Keane's, except that both bands are children of the 80s - the U2, Fixx 80s, not the Debbie Gibson 80s, and as such, both infuse their music with a bit of darkness, edginess, desperation.

I love Coldplay, let's be clear. This isn't a "which Brit band is better?" This is about a solid, sensitive, searching band being misunderstood and dismissed too quickly by us all-too-knowing, too-influenced-by-radio listeners on this side of the Pond. (And let's be clear. I love America.)

So, Perfect Symmetry. Tom Chaplin's voice is clear and more nimble than ever. Tom can wrap his vocal chords around a note and nail it then sustain it, caress it, love it. (Could be catty here and ask if Chris Martin could do so? No, his signature, like Sheryl Crow is to miss the note so compellingly you have to listen to the genius lyrics - it made Bob Dylan a mint, so why not? And all three are gifted songwriters and musicians.) He stretches without sounding stretched or strained, he yearns and gasps for breath and you yearn and gasp along with him.

The band has tried to shake things up without shaking away what makes Keane special - the distorted sounds that sound normal after a few spins of the CD, the slightly off-kilter beats that keep the song in line. This is, perhaps, their most political album, though these are not the typical politics of Left v Right. They are the politics of people understanding people, people in conflict, in chaos, in fear. In this sense, Keane is like Coldplay, whose Viva La Vida also is a searing commentary on the current state of affairs. It's not mimicry, but rather symptom of the times, much like the music of U2, the Fixx, Depeche Mode and other bands of the 81-85 era. How can a band not be influenced by the fear and chaos around them?

The album opens with this jarring, dissonant yet musical whoop - Ooooh! We're spiralling down. It contrasts sharply with the pure musicality of Tom's voice, which is the point, and even Tom's voice is a bit distorted, processed, which, again is the point. Tim Rice-Oxley has a brilliant ear - he hears what none of us hear until he plays it for us and we nod our heads and say, "Ah, yes! Tinny sound, full sound, edgy sound...play it again!" And drummer Richard Hughes is no less creative and restless, creating a beat, beat, beat-up backdrop without which we cannot do.

Spiralling is edgy, the edgiest I've ever heard Tom's voice. There's an impatience, an anger, an irony. "I know you people," he seems to be saying, and Tim's keyboards echo, "Yeah! I know you posers," and Richard's drums pound like a fist in your face. But who is posing - them or us?

Talk about political, angry, sad and warning. That's the song around which the album is built: Perfect Symmetry. Listen to it. Again. Again. Who is and isn't implicated? This is and should be an anthem for this time. Why it isn't, I don't understand, and that's why I am not a record company exec.

My favorite tracks are Spiralling, The Lovers are Losing, Perfect Symmetry, Again and Again, Playing Along.

Do I miss the heartwrenching songs like Bedshaped, She Has No Time? Yes, I do. But I also recognize that now is a time for being pushed, for being questioned, for being energized and enraged, and it is a time of deep, wonderful musical exploration.

I highly recommend this CD. It isn't perfect, but then again, are any of us? Do any of us produce perfect work? Might we find lessons and inspiration in the fragile imperfect world in which we live? Keane says yes. Oh, and the bonus DVD is interesting. Not as deep as the DVD for Under the Iron Sea, but if you like or love Keane, what's to lose? Love Richard's dog costume!

The CD offers a different sound to Keane... and I loved it! Truly a talented group. We got back from their concert last night and they are just as good, if not even better live!

I really don't know what all the fuss is about. Yes, Perfect Symmetry is quite different from Keane's first two albums, but there's nothing wrong with that. I've been a fan since I heard the first glorious melodic notes of "Somewhere Only We Know", and I've loved the dark, evocative quality of their music, but I'm not adverse to change.

When Spiralling debuted I found it refreshing and exciting, as I have with the rest of the album. I put the CD into my car stereo on October 14 and it's still there now where I listen to it practically every day. The songs are catchy and toe-tapping and I usually dance (well, as much as you can while sitting down) and sing my way to work, something I never really did with Hopes and Fears or Under the Iron Sea - these two albums are dark, brooding, and wonderful, but they're just not as uplifting as PS.

I don't mind Perfect Symmetry's 80's sound, or that "Better Than This" starts off sounding a lot like a David Bowie song I know. "Better Than This", "Spiralling", "The Lovers Are Losing", and "Pretend That You're Alone" are among my favorite songs on the album, and make me want to break out of my skin and dance. Then there's the title track "Perfect Symmetry" and "Love Is The End", two poignantly beautiful songs that are more like the old Keane. I like them all.

To put it simply, it's a great album. Just buy it and find out.