The return to their roots is evident, the chemistry is even there, but the songs just aren’t as intriguing as they used to be. There also isn’t enough top tier material present to say that Keane has made a complete comeback. However, for as hard as it tries to re-center the group’s focus, it doesn’t completely erase the stench left by Night Train. Yes, Strangeland marks a revisit to the style that the band excels at, and it certainly has its memorable moments. With nary a bad track over its twelve song duration, Strangeland manages to make it all the way through without once falling flat – which may sound like a pat on the back for the special-ed kid in class, but it’s a start after such a lengthy period of disappointment following 2006’s Under The Iron Sea.Īt this point you may be thinking that this is a triumphant return for Keane – but I feel inclined to warn you that a lot of work still needs to be done. As a rare moment of deviation, this is a track that stands out amongst the comparatively cookie-cutter song structures. The song’s electronic foundation is joined by guitars so glimmering in their production that they almost sound like wind chimes, and eventually Chaplin’s falsetto reaches the perfect pitch to elevate ‘Black Rain’ to a level of ambience never achieved before by this band. ‘Black Rain’ might be the most interesting song on Strangeland, dabbling in electronic backbeats that sound heavy and humid, but act as an experimental catalyst to Keane’s creative side. Keane manages to create an intricate fabric here, even though all the barely noticeable moving pieces work together to form something that is simple and astounding at the same time.

‘Watch How You Go’ has a Beatles circa Abbey Road feel to it, gently weaving in and out of graceful pianos, echoing backup hums, and subtle strings. Keane’s improvement may be most obvious in the beginning of Strangeland, but this is still a pretty consistent album across the board. It is their newfound groove that dictates Strangeland’s success, resulting in varied song structures, interesting lyrical concepts, and a cohesive feel that grips you from the start and refuses to let go. The former boasts a chorus so big that it threatens to burst right out of your speakers and come to life, while the latter has the most infectious melody that Keane has written since ‘A Bad Dream.’ There is nothing overtly impressive going on in the instrumental department here (or on the entire album, for that matter), but the chemistry that they were lacking on Perfect Symmetry and Night Train is back and more tangible than ever. The two most immediate tracks follow, as ‘Silenced By The Night’ and ‘Disconnected’ both exude radio-accessible qualities and fan favorite potential. With a soothing aura and gradual instrumental progression, it sets up the rest of the album rather fittingly. It’s not the catchiest song in the world, but it is enough to convince you that Keane is done embarrassing themselves. ‘You Are Young’ comes as a sigh of relief, kicking Strangeland off not with a disco feel or rap verse, but with a steady drum beat and elegant pianos. The band has never sounded more like themselves, led by a rejuvenated-sounding Tom Chaplin and a return to smooth, simple piano-rock. Now it has been four years since they have released a full-length studio album, and for Keane’s sake, one can only hope that they have regained their footing. To make matters worse, they followed up a two year wait by completing their character reversal via the hip-hop/indie blend of an EP, Night Train. The reaction was lukewarm at best, and a significant portion of the fan base denounced the changes. Perfect Symmetry was a major departure in style, abandoning Keane’s moody atmospheres for something peppier and more in the vein of a standard 80’s synth-rock outfit. However, the drop-off following their impressive beginning was more than just noticeable - it was painful. They made a rather flashy entrance with their first two albums, as Hopes & Fears and Under The Iron Sea garnered critical acclaim and kept rival artists like Coldplay on their toes.

That pressure is applied double fold to groups already staving off extinction, such as the English piano rock band Keane. Now more than ever, bands are feeling the heat to remind fans that they even exist. The internet has long replaced record stores, and the entire way we experience music has been overhauled in favor of possessing everything at your fingertips. In an era where overnight sensations are at an all-time high, sustained success is fleeting.

Review Summary: Get off the night train and hop back on the Keane train.Īs all too many artists know, the fight to stay relevant is a real bitch.

The keane strangeland