#tim-rice-oxley

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We made a few minor tweaks and believe these are the final lyrics for Keane's new single "Tear Up This Town".

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"I love to write songs on a piano in a little house in the middle of nowhere in the middle of night with a bottle of wine..."  ~ Tim Rice-Oxley of #Keane, Rolling Stone Magazine. April 2006.

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Strangeland: Track-by-track

Continuing with our fan written Strangeland reviews, today we feature a very in-depth, critical yet heartfelt review by Brendon Mitchell; a talented musician and songwriter, as well as a longtime Keane fan.

1. You Are Young

It’s odd to be kicking off a track-by-track guide by billing the first song we come to – the up-lifting opener You Are Young – as a genuine album highlight but, trust me, this track is a gem and once set within the context the rest of this review will provide in due course, you’ll understand why.

Although this icebreaker may lack the spectacular choruses you’ll find elsewhere on Strangeland, it certainly carries plenty of other hallmarks of ‘classic Keane’ and quickly demonstrates a return to form of sorts. After the quirky, yet effective vocal-led opening notes, Tom breaks into the spine-tingling and almost U2esque line “I’ll hold you now, I’ll hold you forever.” Cue Tim’s bellowing ivories for the first time, cue sighs of relief. Keane are back.

As the song builds, it’s quickly apparent that Tom is on form as ever; although as you continue to plod through the album, you realise this vocal does turn out to be one of his strongest on the record (more on that later). The choruses are particularly impressive, given their almost ‘shouty’ nature within the live arena. As the song reaches its conclusion with backing vocals aplenty, there’s no doubt you’re left wanting more. A powerful and positive start to our journey through Strangeland.

2. Silenced By The Night

Needless to say, this song has been out there for a while now and I’m sure you’ve all learnt to live with it already. There’s no doubt this poppy, happy track had single written all over it from first listen; it sounded like an obvious choice before I’d heard the rest of the album and, having heard the other 11 tracks on Strangeland, it still sounds like the obvious choice!

Uncomplicated and unfussy, this is a typical Keane single and plays well on the radio. That said, while Tom soars through the choruses, he does fall a little flat on the verses at times. This might sound picky, but when you have the best male voice in pop music and an unlimited amount of time to get it right, you’d think it’d be perfect. Nonetheless, it’s a great track and a fitting follow up to You Are Young. For sure, this album begins very, very strongly. 10 out of 10 for production too. So far.

3. Disconnected

When Keane pulled this little beauty out of the bag for their live show a couple of years ago, most of us were believing more than ever that Tim was in the process of writing his best album yet. Raw, edgy, emotion-fuelled and brilliantly performed. This could be a Keane classic, we thought. Unfortunately, it could’ve, but simply isn’t.

I’ve heard Disconnected described as ‘jaunty’ on numerous occasions by the band already. I’m not 100% sure what that means, but if it’s something to do with the track being production-heavy and overly busy they’ve got it about right.

It’s fair to say that the vocal is a challenging one for Tom given its wide range (low verses to high choruses) and on the whole he does pull it off comfortably, albeit with some reverb-assist on the lower verses.

Yet it’s the busy backing that really spoils Disconnected; when it’s difficult to pick out which instruments are which in the backing of a song, you know there are just too many layers. As a result, Richard’s clever, varied drumming is about the only thing to come out of this track with any credit left intact.

4. Watch How You Go

It’s ironic that they follow-up the most over-produced track on Strangeland with the sparsest. Make no mistake about it, this song is a real beauty and epitomises everything that’s great about Keane.

I think we all find the idea of an accepted goodbye pretty heart-breaking and this gut-wrencher sums up those feelings each of us have had at one time or another absolutely perfectly. Tim’s lyric “I wish I could be your journey’s end, but you were only passing through” is one that resonates and it’s hard to get through this 4 minutes of gold without a lump in your throat.

It’s actually got a very different feel to it than every other track on the album from a production point of view, as Tom’s strong vocal almost sits proudly on top of the track rather than within it. It works though.

5. Sovereign Light Café

Similarly to Disconnected (although this track did precede Disconnected), when this was rolled out in Keane’s live show it gave us all plenty of hope that the next album could be a corker.

Firstly, I genuinely believe this is the most perfect song Tim has ever written; lyrically, melodically, musically, it feels just about on the money. The words are very natural in their flow and each and every syllable makes impeccable sense and paints a picture. From a purely song-writing point of view, Tim has played an absolute stormer here. Even the melody fits Tom’s range like a glove, with his vocal performance on this track proving to be as good as any.

However, part of me feels that is both the song’s biggest strength and biggest weakness. It’s almost as though the band have acknowledged how brilliant the song is and they’ve turned it into a big, over-produced, creamy, yukky, overly-polite 4 minutes of pop-fodder. All the rawness, edginess and emotion they captured live simply doesn’t come out on record for me. It’s Disconnected all over again.

The artificial string parts sound like something out of the 80’s and, quite frankly, the cheap, plastic Yamaha keyboard I used to use for GCSE music lessons in school produced punchier and more lively drumming than Richard offers up here.

Fundamentally, this is a brilliantly written song and it’s going to sound great live. In fact, it’s going to make a decent second single. But they’ve overdone it on the production, which is a big shame.

6. On The Road

This is another track that has single written all over it. This was a popular one as soon as it was unveiled at the Bexhill shows back in March, and with good reason, because it sounds great live. The good news is the guys really have pulled it off on record too.

You just feel each of the four components of the band come together in perfect harmony on this song; Tim’s vibrant piano rift, Jesse’s driving bass-line, Richard’s thumping drumming and Tom’s pitch-perfect vocal. This is a great studio performance from every member of the band and it’s another Strangeland highlight.

However, if I am going to find a ‘but’ (and there is always a ‘but’!), there is something about this track that rather sums up the entire album for me.

Midway through the song there’s a synth solo part. It’s nice, it feels fine and it fits the song well. But there’s just part of me that wishes they’d used a big, booming distorted guitar to give it some welly. Don’t get me wrong, there’s nothing bad or incorrect about what they’ve done. It’s just very polite, slightly bland and, well, just very Keane.

All the adventure of Perfect Symmetry really is a thing of the past and, on the whole, I do feel that’s a good thing. But on this track they really just needed to live a little.

7. The Starting Line

Wow. Let me tell you, this one is a contender for ‘track of the album’.

It’s difficult to know what more to say about this song other than it is absolutely magnificent. Brilliantly written, brilliantly performed, brilliantly arranged and brilliantly produced.

I really love how The Starting Line is so full of hope and desire to turn a bad situation around. The line ‘you think you’ve done your journey, then you stumble and find there’s such a long way to go’ is so pertinent within the wider context of the album. We’ve all had times where we’ve felt we’ve ‘made it’ only for things to go wrong, and I’m glad this heart-warming song turns that very feeling of despair and frustration into a positive.

I actually disagree with a comment Tom made about the track in a recent interview, where he suggested this wasn’t necessarily a song that grabbed you immediately. Quite the contrary. I felt this was another instant hit to come from the introductory live shows and, thank God, they really have produced the goods on record too.

8. Black Rain

Right, where do I start with Black Rain?

Firstly, I think it’s a beautifully written song. Lyrically this is Tim at the top of his game, producing a poetic and gracefully descriptive account.

But boy, does he ask a lot of Tom sometimes?! For me, Tom’s vocals sound a little strained throughout, as the choruses push his range to the limit time and again. I certainly didn’t think the band pulled it off live and I don’t think they pull it off in the studio either. It’s not often you can say Tom doesn’t do Tim’s song-writing justice but it just doesn’t quite happen for them here. It’s a struggle.

I also have some reservations over the placement of this track within the album. Sure, it offers a nice change of tempo and direction, and it might be fair to suggest that’s what Strangeland is all about. But this song does meander a little bit and, I’m sorry to say, it does rather provide a sign of things to come.

9. Neon River

Melodically and musically strong, Neon River’s imaginative arrangement certainly catches the ear. I love the punchy, almost oriental-sounding piano solo and it’s a cleverly produced track. I also like the sentiment of the song; the idea of being scared to move on and getting left behind in the process fits into the album’s broader themes nicely.

That said, lyrically it’s not Tim’s finest hour. The verses sound almost child-like and they lack the flow you associate with his song-writing. You can scarcely believe the wordsmith that Tim undoubtedly is could somehow transpire to follow up a lyrical masterpiece like Black Rain with this bumbling tale of separation.

It’s definitely not Tom’s best vocal on the album either. The first verse and chorus almost sound nervous and shy, as though the band were running through a couple of last minute takes late at night and didn’t want to wake the neighbours up.

This track has potential, but that potential isn’t realised. It almost cries out ‘filler’, which is a shame because the fundamentals are there. Perhaps they should’ve given it a bigger, more driving sound from the off rather than turning it into a slow-building and what is ultimately a slightly disappointing affair.

10. Day Will Come

Day Will Come is a rocking, head-nodding number which could quite easily have taken its place on the band’s second album Under The Iron Sea.

It does provide a welcome pick-me-up after the slightly dreary couple of tracks that precede it, as the band try to finish Strangeland with a flourish. And I’m pleased to say it’s another strong lyric which shows once more Tim at his poetic best.

Yet, there is a certain predictability about the track that leaves me feeling unfulfilled. The keyboard solo which flows seamlessly into another take of the chorus midway through the song is, quite frankly, rather boring and almost fills a gap they had no other answer for.

No doubt it sounds brilliant live and the band will have a lot of fun rocking their way through it in front of a raucous Keane crowd. But is this Put It Behind You mark 2 really good enough to sit on Strangeland? I don’t think so.

11. In Your Own Time

This is possibly one of the most underwhelming tracks to have made it onto a Keane album to date (I almost include Night Train in that, by the way!) which is so disappointing given its importance as the penultimate song of the album.

Although the lyrics are absolutely fine, the track itself doesn’t really go anywhere and you’re left scratching your head as to how this one made the cut, particularly given the recent emergence of Myth and Strangeland (the bonus track).

It’s so unbelievably un-memorable that I even found myself having to go back and double check the song’s title for this review. This has B-side written all over it and it did have me fearing the worst as the album headed towards its conclusion…

12. Sea Fog

… And it’s fair to say that the silky smooth final track Sea Fog did leave me with mixed feelings!

First and foremost, I really do adore the song. The obvious comparison is with Hamburg Song, and I’d go as far as saying Sea Fog even has the edge over that particular masterpiece.

This metaphorical minefield is beautifully descriptive and the use of imagery is perfection personified. The climax of the song itself doesn’t disappoint either and really sends a shiver down the spine. Again, it’s nicely written, nicely performed and nicely produced.

Yet I’m not totally convinced Sea Fog really provides a truly fitting end to Strangeland, lyrically or sonically. This track is another that surely would’ve been equally at home on the rather depressing Under The Iron Sea, with its desperately suffocating and oppressive tone. I understand that, in a sense, it brings you full circle following the blissful naivety offered up by You Are Young right at the very beginning, I just don’t feel the track does justice to an album which, on the whole, carries plenty of hope and optimism that things are going to work out just fine in the end.

From a musical point of view, I also don’t think the songs that come immediately before the album’s closer are strong enough to allow for such a quiet and timid ending. I definitely wouldn’t change anything about the track itself; perhaps it’s just a case of the right track in the wrong position.

Summary

I’m absolutely unwavering in my belief that Strangeland is the best album Tim has ever written. That might sound like a slightly surprising statement given some of the common complaints that pop up throughout this extensive review, but I really believe it. There’s no doubt in my mind that he’s one of the best song-writers out there at the moment and he’s delivered 100% on that front here.

Yet, the raw emotion the band consistently captures so wonderfully in their live show just isn’t captured often enough across this album and that’s a big disappointment given the quality of song and the tools they have at their disposal.

For 7 tracks, the album does promise plenty, but then falls away as it reaches its conclusion. It’s not uncommon for bands to roll out top heavy albums (where they load all the radio-friendly tracks towards the front of the album) and I don’t think it’d be un-kind of me to suggest that’s what’s happened here.

I acknowledge that as a long-standing fan of the band it’s easy to be hypercritical. I grant you, this review is exactly that. And don’t get me wrong; Strangeland is good. It’s very good.

It’s just not the classic it might’ve been.

Follow Brendon on Twitter at @thetalkofsport

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Review : Keane – Strangeland

  Posted on 2 May 2012

The fourth studio album by Keane landed on my doorstep the other day so I thought I’d best give you my impressions of ‘Strangeland‘. They are often compared to their contempories Coldplay and indeed there are many links between both bands. Keane are now a fully fledged four piece act with the inclusion of bass player Jesse Quin.

The album commences with ‘You Are Young‘ a real breezy light-hearted affair, with the customary piano driving the song along. Tom Chaplin’s vocals do seem more mature and most definitely benefitted from some vocal training. This slips into the lead single of ‘Silenced By The Night‘ already a classic. “If I am the river, you are the ocean“, quite apt as the song’s beats slowly that wears you down like the sea pounding on the coastline.  We then have ‘Disconnected‘ completing a trilogy of upbeat tracks. Tom’s dabble with Queen members is very audible with a Freddiesque ‘ooooooohhhh‘ that can be heard throughout.

The pace slows down for ‘Watch How You Go‘ that shows the clarity of the production. “The things we have shared, will soon be left behind now“, sparks a glorious choral middle to the song. This is possibly one of Tim Rice-Oxley‘s more refined compositions on this album. ‘Sovereign Life Cafe‘ soon brings back the zest to the album. It seems to be a song describing that they are at their most happiest when in their local surroundings even though there are many distractions out there to tempt them. The driving drums of Richard Hughes shape the track ‘On The Road‘ perfectly a sure-fire single at some point I would most definitely say. With the break in the middle you can imagine their fans clapping along when they will perform this live.

The chiming keyboard heralds the beginning of ‘The Starting Line‘, for some reason I get feeling I need an ice-cream. This is certainly a piece of majestic mellow music. Four musican and fourth album most definitely gives them a more solid foundation and far from the recited words “we’re too old to stand here waiting to break up”. Almost in the range of choirboy vocals dominate the next song ‘Black Rain‘. It uses an electronic back beat along that submerges with the woodwind and string sounding electronics. Strangely at it may seem it almost sounds as earthly as you can get. Next ‘Neon River‘ certainly lights our way into the way Keane feel now, certainly more relaxed and confident. The song builds up throughout when the chimes re-appear to end another slice of ‘cultured pop’.

As if they had recharged their batteries the band launches into the blistering ‘Day Will Come‘ and Tom announces “some day we will set the world on fire“, with this album if nothing else they have lit the touch-paper. ‘In Your Own Time‘ surely is the classic Keane sound of yesteryear. Great melodies and harmonic vocals shows they have not lost any of the shine. The album concludes with the ballad ‘Sea Fog‘ and again brings them back to the safety of their East Sussex coastal homeland upbringings. They are older wiser and better for it. 9/10.

Source: StevoMusicMan – Ramblings Of A Music Man