2008年10月Teletext评论《Perfect Symmetry》

http://www.teletext.co.uk/PlanetSound/Interviews-Features/default.aspx

8/10

By John Earls – When many bands unveil a radical new direction, it’s often a sign they’ve lost the plot.

For every Kid A or Spirit Of Eden is a Satanic Majesties’ Request or Tin Machine.

Whispers that Keane had “gone dance” were understandably cause for concern. But, far more pop savvy than they’re generally credited with, they knew what they were doing all along.

Study their back catalogue closely, and the whoops and euphoric synths of first single Spiralling aren’t such a shock.

They’ve dabbled with ambient on B-sides and the first album’s Untitled 1. More obviously, Is It Any Wonder’s wah-wah FX and raw power was evidence there was always more to them than a good ballad.

Wonder’s accompanying album, Under The Iron Sea, was great. But, by necessity, it was a dark and troubled affair.

With Tom Chaplin healthy again, the trio are once more able to make music without any external pressures.

Main songwriter Tim Rice-Oxley’s love of Pet Shop Boys and A-ha is at the forefront, with an ’80s feel to the dance-led opening half.

Rather than cheesy nostalgia, it takes the adventurous spirit of the era’s synthpop and channels it into classic songwriting.

If Spiralling was a surprise, then just wait for the falsetto funk of Better Than This.

Over a whirl of Ashes To Ashes sci-fi riffs, Chaplin’s vocals are higher and more piercing than ever – it’s like a lost Chic production.

The air of disco madness continues into the slick choppy guitars of You Haven’t Told Me Anything, and Again And Again’s echoes of Human League.

It’s not an album where they’ve totally abandoned their trademarks.

The title track is one of Rice-Oxley’s state of the world addresses, Chaplin’s vocals never more consoling and warm in a song to rival Somewhere Only We Know for offering solace in an ugly world.

Best of all is Playing Along, which gradually morphs into a shoegazing anthem and their most dissonant, disturbing song to date.

It’s not perfect: Love Is The End is a ho-hum ballad, almost like a Keane pastiche and too downbeat to end such an adventurous record on.

Pretend That You’re Alone doesn’t quite come off either.

But the rest sees them happily experiment, emerging triumphant from their lab. Moreover, it’s now impossible to guess what a Keane record will sound like in future.