Keane's third studio album, "Perfect Symmetry," is far from perfect.

Play it by Ear - Keane: Perfect Symmetry

By: Jesus Butler

Posted: 10/27/08

After their smash hit debut "Hopes and Fears," followed by the more somber "Under the Iron Sea," Keane has finally arrived….in the '80s?

"Perfect Symmetry," the third offering from the boys from Battle, is a brave step in a new direction (or old direction, as the case may be). Keane has always fit squarely into the modern Brit-pop movement, standing shoulder-to-shoulder with the likes of Coldplay, Radiohead and Oasis.

That being the case, they seem to have fallen victim to the same formula their cohorts have followed: release a chart-topping album, expand the sound with the next album and then change the sound on the following album to keep from getting stale. Radiohead infused "Kid A" and its follow-up "Amnesiac" with electronic beats to much critical and popular acclaim. Coldplay got lambasted for playing with Euro-pop motifs on "X&Y" but recovered with the eclectic "Viva la Vida." Now it's Keane's turn, and they have chosen the synthesized, drum machine- backed music of the 80's as their muse.

The album begins with "Spiralling," a sweeping effort of synth bombast that lets you know immediately this will not be an album full of "Somewhere Only We Know" retreads. This song will get stuck in your head, whether you like it or not. "The Lovers Are Losing," another strong example of the band's new peppy, upbeat '80s sound, is next.

The third track, "Better Than This", is the album's first undeniable misstep. It's far too bubbly for its own good, with a bland chorus so bad it actually calls into question composer/pianist/bassist/band mastermind Tim Rice-Oxley's usually superb writing skills. The song is a letdown after the strong lead-in of the first two tunes and, sadly, is an indication of what is to come.

"Perfect Symmetry" is anything but symmetrical: it's heavily front-loaded. The first act is stronger than the second, though there are redeeming pieces throughout. The major problem with the album is its unevenness.

When the '80s motif works, it works well. But when it doesn't, the retro synths and canned sound of the drum machine feel tacked onto songs that might have had a fighting chance if the group wasn't so committed to keeping the theme consistent throughout every piece.

The final track, "Love is the End," is the perfect example of this. It's a jazzy tune that shows a lot of promise, but ends up being weighed down by fake drums and a clichéd string section. If they had used a real drum set and a simpler arrangement, it could have been masterful.

The album is not without its redeeming moments, however. The title track is a compelling, anthem-ballad that serves as a backward glance toward Keane's established catalog without retreading too much old ground. "Pretend That You're Alone" is a groovy piece fixed up with a vibrant piano line and a good beat.

Lyrically, Chaplin has gone to great lengths to avoid the overly sentimental love songs that Chris Martin of Coldplay has caught flack for. "When we fall in love, we're just falling / in love with ourselves, we're spiraling" Chaplin sings, indicating that love is little more than self-absorption.

Things are dire for the human race, the "wisest of the animals," in Chaplin's writing. The trials of love, the monotony of daily life and the meaningless feeling of it are all strong themes throughout the album. In "Perfect Symmetry," Chaplin claims to "dream in e-mails, worn out phrases / miles and miles of just empty pages." Despite the poppy, candy-coated arrangements, this is not the feel good album of the year.

Keane has managed to reinvent themselves with "Perfect Symmetry," but the results are mixed. The '80s motif oscillates between being a refreshing change of pace to a cheesy gimmick. You could stick with the album's singles and not miss much.

Final score: 6 out of 10.

jbutler@unews.com