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DISCID=9b0a940b
DTITLE=Keane / Hopes and Fears
DYEAR=2004
DGENRE=Rock
TTITLE0=Somewhere Only We Know
TTITLE1=This Is the Last Time
TTITLE2=Bend and Break
TTITLE3=We Might As Well Be Strangers
TTITLE4=Everybody's Changing
TTITLE5=Your Eyes Open
TTITLE6=She Has No Time
TTITLE7=Can't Stop Now
TTITLE8=Sunshine
TTITLE9=Untitled 1
TTITLE10=Bedshaped
EXTD=Originally Released May 25, 2004\nHybrid SACD Released December 7
EXTD=, 2004\nDualDisc Edition Released December 7, 2004\n\nRolling Sto
EXTD=ne, June 10, 2004\n"Keane reconfigures the high-romantic aestheti
EXTD=c introduced by Radiohead and mainstreamed by Coldplay as the lau
EXTD=nchpad for a serious hookfest" \n\nAMG EXPERT REVIEW: The English
EXTD= music press can never let anyone be. They're always quick to hai
EXTD=l the next big thing and, in this case, the next big Coldplay is 
EXTD=Keane. Lowgold briefly held that title upon its debut release in 
EXTD=2001, but U.K. critics rushed to give that crown to someone else 
EXTD=just because that's what they like to do. Keane didn't ask for it
EXTD=, but perhaps it's the overall majestic presentation of the band'
EXTD=s debut album, Hopes and Fears, that does it. That and the fact t
EXTD=hat the Sussex trio doesn't rely on a formula of lilting melodies
EXTD= and feverish guitars to carry the weight of the album. Keane hav
EXTD=en't positioned themselves to be kings of anything, let alone the
EXTD= next Coldplay. They sound nothing like Chris Martin and Co. Sure
EXTD=, Coldplay's biggest hit to date, "Clocks," included only pianos,
EXTD= and they released the Safety EP on Fierce Panda, which is also K
EXTD=eane's label, but those are the only things Keane have in common 
EXTD=with Coldplay. Alongside their beautiful, emotive dalliance of in
EXTD=strumentation is one thing that'll separate Keane from all the re
EXTD=st, and that's drive. The band's heartfelt ambition on Hopes and 
EXTD=Fears is right there. It's impossible not to reach for it, really
EXTD=. Lead vocalist Tom Chaplin's rich vocals are as vibrant as any c
EXTD=hoir, and songs such as "This Is the Last Time," "Bend and Break,
EXTD=" and "Can't Stop Now" reflect Keane's more savory, dramatic mome
EXTD=nts. Confidence bursts throughout, and for a band that has been a
EXTD=round seven years and has never released a studio full-length alb
EXTD=um until now, achieving nearly epic-like status is quite impressi
EXTD=ve. Keane obviously have the songs and they have a strong voice l
EXTD=eading the front; however, Tim Rice-Oxley (piano/keyboards/bass) 
EXTD=and Richard Hughes (drums) allow Hopes and Fears to come alive wi
EXTD=th glamour and without the sheen of slick studio production. Even
EXTD= slow build-up tracks like "Bedshaped" and "We Might as Well Be S
EXTD=trangers" are just as passionate, if not more so, than some of th
EXTD=e bigger numbers on the album. Some might find Keane's debut a bi
EXTD=t stagy, or too theatrical at first, but that's okay. Listening t
EXTD=o "Somewhere Only We Know" alone a few times is more than enough 
EXTD=to convince you that Keane stand next to Coldplay, challenging th
EXTD=em, and it's a respectable match at that. [Universal released a b
EXTD=onus DVD edition loaded with extras.] -- MacKenzie Wilson \n \nAm
EXTD=azon.com Editorial Review\nIt's perhaps inevitable that Keane's d
EXTD=ebut album, Hopes and Fears, will draw numerous comparisons to Co
EXTD=ldplay. Like them, Keane were discovered by indie label Fierce Pa
EXTD=nda, who released a single ("Everybody's Changing"). And, like Co
EXTD=ldplay, Keane also do a fine trade in catchy and heartfelt indie-
EXTD=pop, all bruised verses and soaring choruses. But though their so
EXTD=und is sure to please fans of Coldplay and Travis, the reality is
EXTD= that Keane manage to sound that little bit more delicate. This c
EXTD=ould be down to the band's relatively unusual make-up: rather tha
EXTD=n guitars, the trio use a piano.\n\nAt its best, Hopes and Fears 
EXTD=is reminiscent of Bends-era Radiohead and singer Tom Chaplin's vo
EXTD=ice is closer to Thom Yorke's falsetto than Chris Martin's cracke
EXTD=d whine. On tracks such as the hit single "Somewhere Only We Know
EXTD=," they manage to squeeze an epic-sounding poignancy from their s
EXTD=tripped-down sound (a lot of this is due to the album's superb pr
EXTD=oduction). Across 12 tracks, all this slow-burning melancholy ska
EXTD=tes a bit close to self-indulgence and you can't help but wish th
EXTD=ey'd rock out a bit. But Hopes and Fears is still a remarkable an
EXTD=d surprisingly mature debut album from a young band with a bright
EXTD= future. --Robert Burrow \n\nAmazon.com Customer Review\nHopes fo
EXTD=r "Fears", December 6, 2004 \nReviewer: E. A Solinas "ea_solinas"
EXTD= (MD USA) \nBritish mope-rock is alive and well, as Brit-pop trio
EXTD= Keane makes their debut with "Hopes and Fears." Strong, soaring 
EXTD=vocals from Tom Chaplin are backed up by some solid piano-based p
EXTD=op and rock. Despite constant comparisons to Radiohead and Coldpl
EXTD=ay, Keane shows plenty of promise. \n\nIt starts off with a stron
EXTD=g piano solo in the quiet "Somewhere Only We Know," followed by a
EXTD= stream of catchy pop like the thoughtful "Everybody's Changing" 
EXTD=and the shimmery "Bend And Break," and gossamer ballads like the 
EXTD=melancholy "We Might As Well Be Strangers" and soaring "She Has N
EXTD=o Time." It wraps up on a strong note with the plaintive "Bedshap
EXTD=ed." \n\nIf any British band breaks the rock mold, it seems to be
EXTD= labelled as a Radiohead/Coldplay wannabe. On some superficial le
EXTD=vels, Keane sounds rather like those bands. But it manages to rem
EXTD=ain a bit apart, rocking a bit harder and sounding a bit more str
EXTD=aightforward and simple. It's hard to truly classify Keane as rea
EXTD=lly being pop -- the lack of guitar and the prevailing piano seem
EXTD= to edge its catchy melodies closer to classical pop. \n\nThe fir
EXTD=st thing to know about Keane is: No guitarist. Don't let it scare
EXTD= you -- the mix of rippling piano and gentle percussion are enoug
EXTD=h to make their melodies catchy without electric riffs. At the sa
EXTD=me time, they take some musical risks. Psychedelic piano-pop? Bel
EXTD=ieve it or not, Keane does that. \n\nTom Chaplin's vocals are the
EXTD= strongest point of Keane's lineup; his solid, high soars along w
EXTD=ith the shimmery music. At times his vocals get a bit TOO high, l
EXTD=ike when he sings the title line of "She Has No Time," but most o
EXTD=f the time he manages to sound like a heartbroken guy exorcising 
EXTD=his breakup demons. The songs themselves aren't terribly complex 
EXTD=or insightful, but they can be quite poignant: "And if you have a
EXTD= minute why don't we go/talk about it somewhere only we know?/Thi
EXTD=s could be the end of everything/so why don't we go/somewhere onl
EXTD=y we know?" \n\nKeane needs to distance itself more from the othe
EXTD=r Brit-mope-rock bands before it can blossom into greatness. But 
EXTD=in "Hopes And Fears," they have succeeded in the basics: bringing
EXTD= forth some beautiful, sometimes heartrending music. \n\nAmazon.c
EXTD=om Customer Review\nLess is More... A Lot More, March 30, 2005\nR
EXTD=eviewer: Rosie Kerkhoff (IN) \nVery simplistic, yet they pull it 
EXTD=off with flying colors. Very few bands can do what Keane has acco
EXTD=mplished. They use few frills, no bells and whistles, but the mus
EXTD=ic touches your soul without boring you to death. Keane has done 
EXTD=what is probably the hardest thing to do do in the music business
EXTD=: make great simple music. The subtle things Keane does is where 
EXTD=the genius lies: the "archaic" use of a piano, the timing and art
EXTD=iculation of the vocals, and the magic behind their heartfelt wri
EXTD=ting. They seem too young to be able to express emotions the way 
EXTD=they do through music. They seem like young Walt Whitmans. Two ro
EXTD=ads diverged in the woods and I took the one traveled by Keane. M
EXTD=ost of the time sappy, sentimental music is painfully boring, but
EXTD= Keane is a much needed exception to the rule. The best way to de
EXTD=scribe Keane: poets with instruments. \n\nI used to think the voc
EXTD=als should be more refined. But when I listened to it again, the 
EXTD=pitchy spots set up the times when the notes are truly nailed. Th
EXTD=e singer seems to be making an emotional journey and when he find
EXTD=s his emotional sweet spot he holds on for all its worth with a v
EXTD=ery pure sounding note. Pretty smart: sad or agitated times sound
EXTD= stressed while times of hope or recognition sound beautiful. Eve
EXTD=rybody's Changing & Somewhere Only We Know are great examples. \n
EXTD=\nAmazon.com Customer Review\nThe little band that could, March 1
EXTD=6, 2005\nReviewer: Eddie Konczal (Monroe Township, NJ USA) \nAnot
EXTD=her fresh musical breeze has blown in across the Atlantic from th
EXTD=e British Isles. Keane is a three-piece Brit-pop outfit that to s
EXTD=ome extent follows in the footsteps of bands like Radiohead, Trav
EXTD=is, and Coldplay. However, while influenced by their predecessors
EXTD=, Keane fashions a gentle yet full-bodied sound that's all their 
EXTD=own. This is earnest, sincere pop/rock, delivered without a hint 
EXTD=of cynicism. \n\nThe uniqueness of Keane's sound results partly f
EXTD=rom their decision to dispense with guitars completely. The songs
EXTD= certainly don't suffer from the absence of a guitarist. Keane's 
EXTD=heavy reliance on piano invites comparisons to Coldplay, while th
EXTD=eir aggressively mellow approach places them in the same vein as 
EXTD=Travis. However, Keane's style is more delicate and pop-oriented 
EXTD=than Coldplay's, and their songwriting is less tentative than Tra
EXTD=vis, who always played their cards too close to the vest for my t
EXTD=aste. Perhaps Keane's greatest asset is the bold simplicity of th
EXTD=eir approach. Their sincerity allows them to achieve the big chor
EXTD=us or crescendo without sounding blatantly commercial or overly d
EXTD=erivative. \n\nKeane delivers soaring ballads, up-tempo pop rock,
EXTD= and smooth midtempo numbers with equal facility. Upbeat, catchy 
EXTD=tunes such as "Bend and Break," "Everybody's Changing," and "Can'
EXTD=t Stop Now" grab the listener immediately; you'll find it impossi
EXTD=ble not to sing along after the second or third listen. Exquisite
EXTD= ballads like "Somewhere Only We Know" and "Bed-shaped" achieve l
EXTD=ofty and romantic heights, avoiding sappiness and sentimentality 
EXTD=by a hair's breadth. For variety, Keane slides into a late 70s-st
EXTD=yle soft rock sound (10cc and Gary Wright come to mind) on the at
EXTD=mospheric numbers "Sunshine" and "Untitled 1." \n\nSinger Tom Cha
EXTD=plin sings beautifully and passionately in both full voice and fa
EXTD=lsetto. Keyboardist Tim Rice-Oxley resists the temptation to fill
EXTD= the guitar hero's role, instead providing solid chordal support 
EXTD=with a few tasteful excursions into synth leads. Drummer Richard 
EXTD=Hughes delivers steady rhythms throughout. \n\nKeane aren't as am
EXTD=bitious as some of their contemporaries, and this is not a partic
EXTD=ularly challenging set of songs. But that's OK: they aim to pleas
EXTD=e, and they succeed in doing it. "Hopes and Fears" is an auspicio
EXTD=us debut and one of 2004's most pleasant surprises. \n\nAlbum Cre
EXTD=dits\nAndy Green, Producer\nJames Sanger, Producer\nKeane, Produc
EXTD=er\n\nAlbum Notes\nKeane: Tom Chaplin (vocals); Tim Rice-Oxley (p
EXTD=iano); Richard Hughes (drums).\n\nOften compared to countrymen Co
EXTD=ldplay and Radiohead, the UK-based trio Keane plays a similarly m
EXTD=ajestic, sweeping blend of pop-informed rock music. Fueling the c
EXTD=omparisons is the fact that lead vocalist Tom Chaplin makes heavy
EXTD= use of the same kind of Jeff Buckley-esque falsetto and emotion-
EXTD=filled wails favored by Chris Martin and Thom Yorke. On HOPES AND
EXTD= FEARS's epic tracks such as "She Has No Time," however, Keane ta
EXTD=kes the more dramatic elements of the aforementioned bands' sound
EXTD=s and magnifies them, creating piano- and synthesizer-driven cine
EXTD=matic soundscapes dripping with quiet heartache and existential a
EXTD=ngst. In addition, Keane incorporates minimalist trip-hop beats, 
EXTD=which, in combination with Chaplin's strong pop melodies, evoke a
EXTD= male-led Portishead jamming with the Raspberries. One of the mos
EXTD=t sonically atmospheric groups of the Britpop scene, Keane ignore
EXTD=s the notion of traditional guitar-based rock music in favor of s
EXTD=omething altogether quieter, yet equally as intense.
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