One of the dangers of being an "armchair musical expert" like myself is that, like all people who claim to have all the answers, there inevitably comes a time when someone who actually does know something comes along and proves that you were talking complete tosh. Its a bit like being that guy down the pub (and every pub has at least one such guy), who holds forth on every topic under the sun - whatever the current news story, whatever you're discussing, he's always got an opinion and its always the right one. There's always then a cheer of joy when they are proved completely wrong and have to suffer their ideas being shot down in flames. It is at that point that the "expert" must take it like a man and do the decent thing - which is not admit to being wrong, but rather deflect the criticism away by pretending that you knew it all along and were just trying to prove how lots of other people think, or just launch a counter-argument to draw attention away from the embarrassment of being proved wrong. This, my friends, is the ancient art of backpedalling, and I shall now prove that you don't need to be a unicycling circus clown to be able to do it.

In my previous update, I confidently proclaimed the use of an ebow in the bridges of The Lovers Are Losing. Queue much confusion from my readers (I almost typed "my fanbase", but just managed to keep my ego in check!) - those familiar with the ebow were struggling to know where I was hearing it, while those who had no idea what an ebow is were struggling to know what I was actually on about in the first place. Well, basically the ebow is a little handheld device that you can use with a guitar (electric or acoustic, but its only particularly useful with an electric guitar) - it consists of an electro-magnet, a 9 volt battery and very little else and it causes a string on the guitar to vibrate when its held over it. Its name is short for Electronic Bow and it enables the sound of the guitar string to sustain indefinitely, which opens up all kinds of sonic possibilities - think of the droning lead sounds of U2's With Or Without You** or R.E.M's E-Bow The Letter (the Remington effect - they liked it so much they named the song after it). Anyway, its a very distinctive sound that's quite different to just plucking the string with a plectrum - you get a soft attack and smooth, virtually infinite sustain. When listening to The Lovers Are Losing, I was convinced that there's an ebow'd guitar sound in the bridges - roughly in the areas just before the choruses (if you listened to the Lamacq 6music playback, its in the right channel and is a three note ascending pattern). So confident was I, in fact, that I put it in writing: "And until I'm proved wrong, I'm going to maintain that there's ebow on there in the bridges".

However, a Mr. Tim Rice-Oxley from East Sussex has been in touch to say that there is in fact no ebow there at all - the sound to which I was referring (still probably a complete mystery to most of you!) is in fact a Tom Chaplin "oooooh" backing vocal. How embarrassing - the only saving grace for me is that Tim does acknowledge that Tom's BV part does sound a bit like an ebow. Of course, I knew that it was Tom all along and was merely congratulating him on managing to do such a convincing impression of the ebow... ahem. Seriously, no excuses though guv'nor, you've got me banged to rights - I was wrong in my proclamation of the ebow and I will send myself to bed without milk and cookies as punishment for my geek sense letting me down. Apologies to you Mr Chaplin, if you're reading... :)

Moving swiftly on, Tim also revealed that the Juno-6 features heavily through the track, providing filter sweeps and "pings" (his words, not mine!). Best of all though, he also says that the main "riff" sound is not from any fancy, expensive or rare vintage analog synthesizer but is in fact from that much maligned "instrument", a stylophone! Apparently, it was run through the Roland Chorus Echo box and then through a guitar amp - things don't get much more experimental than that! Who'd have thought that the stylophone would be one of the lead instruments on Keane's comeback single? I've got a Juno and a stylophone myself at Backline HQ, so I imagine I'll be experimenting some more if I can find some spare time!

To pick up on something else from the last update - the more I've listened to Better Than This, the more unfair it actually seems for some people to immediately write it off as nothing more than an Ashes To Ashes clone. Whilst I don't think there's much argument about the similarity in the sound of the chorused riff, the rest of the song is very different to the Bowie track - his influence is there, but when you listen to the track, its still definitely got that "Keane" touch and the whole mood of the music is very different. I suspect people have put the barriers up to it and don't really want to give it a fair hearing, which is a shame - its actually a really fun, catchy song. I wouldn't be surprised if people can get much more into it when its done live. I also forgot to give mention to the handclaps through it - can't help but smile at the thought of the four of them huddled around a mic when recording them!

Finally, thanks to all of you have taken the time to get in touch and let me know what you think of the site - I appreciate it! I do read all your comments, so don't think that I'm being rude if I don't respond. Its just laziness rather than ignorance... :) However, I'll keep growing the site over the next few months (yes, the gear listing section will appear soon!), so keep stopping by! I've already had a couple of suggestions about things to possibly include on the site (thanks for those, I'll see what I can do!), but if you've got a great idea for something geeky related to Keane, let me know!

In the meantime, here's my latest confident-proclamation-that-will-likely-be-completely-wrong - the riff in Better Than This is done with a Rhodes-style electric piano sound, rather an acoustic piano (as in Ashes To Ashes). Discuss. ;)

** Although to confuse things further, With Or Without You wasn't actually done with an ebow, but with a custom system built into a guitar but using a similar basic principle.

Look at the photo. It tells you everything you need to know about Keane's new album... makeup, outrageous clothes, colour clashes - yes folks, these men were most definitely alive in the 80's and have been re-born as the musical love-children of an illicit threesome liaison between David Bowie, Steve Strange and Duran Duran! OK, I jest to some degree... however, the photo does tell you one thing that the new album won't be - its not Under The Iron Sea Mk II or Hopes And Fears Mk II. It's what they've been saying all along during the recording... in fact, it's what they've always said they want to do. So, as I sit here with an altogether different Keane playing through my headphones, I have to ask the question - why are so many people surprised and disappointed that it sounds different?

Don't get me wrong - I'm not trying to have a go at anyone for not liking the new material. After all, music (like all art) is subjective... there's no right or wrong answer, no golden rule that says something is great or is rotten to the core. Trying to argue that a particular song is great and completely disregard everyone else's opinion is like re-arranging the deckchairs on the Titanic... pointless. So, before anyone shouts, I'm not trying to stifle opinion or tell people what to like... what I'm interested in/baffled by, is why people seem to be mistaking their own dislike of something as a complete disaster for everyone and thinking that by actually trying to do something different, they've sold out and betrayed themselves/their fans/their mothers/piano manufacturers/the world. Its something that genuinely leaves me scratching my head, so what better place to yatter on about it (and give my own thoughts on the bands latest tracks) than here!

We've already covered Spiralling and it came as no surprise that some people found it a bit difficult to swallow, at least initially. So let's look at the next batch of new tracks that have had a public airing over the past couple of days - namely upcoming single The Lovers Are Losing, plus Better Than This and Love Is The End. I've been listening to these tracks quite a bit now and my own opinions have been cooking away nicely. Will these reassure people that want Keane-as-we-know-them, or will it be the nail-in-the-coffin? Probably somewhere in-between...

Let It Slide + Thin Air = The Lovers Are Losing?

Let's look at The Lovers Are Losing first. If you bear in mind Tim's comment to me that the songs on the album ranged from quite Keane-esque to completely different to anything they've done previously, I'd say it's a safe bet that this one of Keane-esque ones. Melodically, this definitely has shades of UTIS era tracks, although it ploughs a synth furrow rather than going for distorted or effected piano. Its got a feel reminiscent of Thin Air and a sonic approach reminiscent of Let It Slide, though I'd say its probably stronger than either - which you'd hope, considering they were only B-sides! It seems to be a divisive one lyrically - some people seem to feel it's a bit sub-standard (putting it politely), though I don't actually agree with that at all. I've not yet got into fully dissecting the meaning of it, but I think its got some great imagery in it. The wall-of-sound approach is also a bit much for some people, who fear that the production is in danger of drowning out Tom's vocals... though I'll need to wait for a proper recording to make a proper judgement on whether the line has been crossed. And until I'm proved wrong, I'm going to maintain that there's ebow on there in the bridges... the ebow is very underrated as a guitar accessory, so I'm pleased as punch.

The disappointment on this for me is probably the fact that its came after Spiralling, actually. Its a strong song with a good melody that will get under your skin, but its not got the punch or immediacy of it's predecessor. The question therefore is whether its actually strong enough to be the first single... time will tell. Of course, given the fact that the single is coming out the week after the album (your guess is as good as mine, really!), maybe they're not focusing on it so much. Food for thought!

Ashes To Ashes, Keane Go Funky...

But from something at the Keane-esque end of the song scale, let's jump on the night train to somewhere completely different - Better Than This is Keane as you've never heard them before. First off, if you don't like to hear a generous sprinkling of Bowie influence, be prepared to be baffled/annoyed/saddened/all of the above. Kicking off in a mirror of Ashes To Ashes and its heavily chorused piano riff, this is even more different to what you'd expect Keane to do than Spiralling was, though in a different way. The vocal melody in the verses is wacky and there's lots of quirky little synth and guitar parts adding to the jaunty feel. Once the choruses come in though, the song comes alive - great backing vocals and a truly excellent piece of bass playing by Big JQ. This could be a brilliant one live... I've read a few comments were people are slating it, but give it a chance. Lyrics have a nice message behind them (reflecting on the obsession that society seems to have with the cult of celebrity and fame) and although the music is quirky, once you get into it, its actually quite a cool track! Not my favourite of the newbies, but a good one nonetheless...

Get Your Lighters Out

To finish off then, we're left with Love Is The End. The album closer has always been a key track for me when it comes to the atmosphere of a record and I'm pleased to report that the lads have come out with a slice of gold in this one. It smoulders away gently in a waltzing melody with sparce piano and electronic drums with a classic emotive vocal from Tom, before being joined by mournful violin and deep throbbing bass. It then gradually builds in emotional intensity, with musical saw and strings to elevate Tom's singing... once it hits the middle-eight then it really takes off, with the saw and strings combining to give a soaring, almost orchestral sound. This song is epic - no other word for it. I'd even go as far as saying this ranks up there with the best tracks Keane have done... in common with songs like She Has No Time and Atlantic, it has a melody that is almost heartbreakingly beautiful. The interplay between the different elements in the arrangement is sublime - wonderfully understated piano, swirling strings and the eerily beautiful sound of the musical saw. For me, this song really is a triumph and I'd defy anyone who thinks the new album will be a failure to dismiss this one. Its probably just me, but there's shades of other great songs in there such as Life Is For Living by Coldplay, Eve, The Apple Of My Eye by Bell X1 and even the wistful melancholy of a-ha during their most recent years. Expect to see couples slow-dancing to this one at gigs, folks... this is up there with the best of them for those slow, emotional moments. Amazing.

So, we pick up back were I started - given that we've heard a mix of styles already (and there's still seven more album tracks to go!), it still amazes me that some people seem to believe that Keane aren't being true to themselves and that they actually want the band play it safe and to come out with the same type of stuff that they've already done. In some ways, I can understand it - most people tend to have a natural fear of change, they don't like being taken out of the comfort zone. I can appreciate a reticence to the new directions in that sense - what I can't understand is the notion of it not being Keane... the "what happened to the band I loved?" syndrome. They moved on, they wanted to try new things... they've made a record they are genuinely enthused about, one which they've all had a very active part in shaping - one that let them actually enjoy being a band again and reinvigorated their love for each other and what they do.

In that sense, this is more of a Keane album than either of its predecessors. We should celebrate the difference, rather than bemoan the loss of a particular sound. I've not even heard the full album yet, but I titled my Tim interview as Expect The Unexpected for a reason - this was going to be a very different beast. Instrumentally, sonically, melodically - out with the old, in with the new. People need to try to approach this new album with a clear head, free of expectations on sounds or subject matter - leave your preconceptions and expectations at the door. Only then will you be able to have a chance to truly appreciate this new direction, rather than trying to compare it solely on how close or distant it is to their previous work.

Give it a chance - you might find the songs will reward you for it!

Today marks the first day of the new era - the first glimpse of Keane's new direction, with the release of Spiralling for free through the official website for a week. And boy, is it a change!

But don't think I mean that in a bad way... quite the opposite in fact! Since getting hold of the track early this afternoon, I must've listened to it repeatedly about 25 times (hey, I never said I wasn't obsessed!) but I can honestly say it wasn't because I needed it to grow on me over repeated listening. Right from the off, it had me hooked... a great guitar riff through it, with a lovely piano counter-riff in the verses... plus the "Woooo!" multi-tracked vocals. For me, this is a bold new direction to push in, but a very good one... I'm waiting with interest to see what the general feeling will be on it. Its going to be divisive for sure - probably even more so than Under The Iron Sea was for some people. Interesting times ahead!

The spectre of the 80's looms large in the track (and I suspect, the album as a whole), but fortunately they have managed to pull it off without it just becoming a piece of throwaway nonsense. There's a lot of Bowie and Talking Heads influence there, but there's still that special something that is distinctively Keane. Tom's vocals are an obvious factor (I particularly enjoyed the speaking section, even if its not a rant as I would think of it!) and he gives a good performance on this song. Some excellent drumming and percussion work from Richard there too. I've waffled on about it a little on the forthcoming episode of Beyond The Iron Sea, but I'm wondering whether its Tim that is playing the lead guitar riff... guess we'll just need to wait to find out!

I was pleased to hear that when chopped into small bits and EQ'd, the old VCS3 ear-bleeder synth can actually produce the goods (It does the little screechy bits at the start of the verses after the piano riff starts, as well as during the speaking section)! Why not re-acquaint yourself with that wondrous moment from Berlin, when they were trying to tame it into producing something vaguely musical over the song:

Phew - at least something good came from that piece of torture!

The final thing to say about it though is that, to my ears, it really has a sense of fun, of not taking itself too seriously. It manages that old trick of marrying serious lyrics to a cheesy, bouncy music and it works brilliantly (for me, at least!). It made me realise that a lot of what Tim had said to me during our lengthy chat a few weeks back is definitely the case - you can really hear the fun and enjoyment of actually making the song coming through, its not uptight and angst-ridden... its free and easy and all the better for it!

If the rest of the album can impart a similar level of fun and feeling, then I think we're in for a real treat. Basically, as soon as the track starts and that big riff kicks in, I can't help but smile - and that can only be a good thing!

Well, it has taken a while, but the fact that you're reading this means that Keane Backline is finally up-and-running. Hey, it's only a year or so after I initially said I was going to do it... that's actually pretty quick for me! Anyway, this section of the site is going to be my place to write about my thoughts on topics in the Keane (and related) universe, some of which might be technical, some of which won't. Basically, it's going to be my own little platform to hold forth on stuff that interests me and give me a space to voice my opinions on the band, while completely disregarding whether those opinions are sensible or other people agree with me... ;)

Of course, those observant people among you (and I've discovered there's quite a lot of you being very observant!) will have realised that this launch didn't quite go as planned, after the exclusive Backline interview with Tim managed to find its way onto the official messageboard. Not quite the way I'd planned to get things out there, but hey... I'm glad that people seemed to enjoy the interview and that my work on it was appreciated. Hopefully, you'll all now repeat that with glowing adoration of the Backline site itself, now its up and running... if you've not already done so, please sign up to the mailing list so that I can keep you updated with the latest site news. You can also subscribe to the News section using RSS, so you'll be able to see all the latest updates at a glance and you can even subscribe to this blog, if you're my biggest fan and enjoy reading my waffle!

This site is clearly going to be an evolving entity, so you can expect me to keep updating it as the campaign for Album 3 gets into full-swing... the gear section will be launching soon (once I've sorted out the teething problems with it!) and it will obviously expand over time to cover new and weird instruments that the band are using, but I'll also add more interesting articles (and hopefully interviews) as we go forward. If you've got any suggestions of things you'd like me to try to cover on the site, or if you have something that you'd personally like to contribute, drop me a message and let me know!

So, in the meantime, thanks for stopping by the site - have a nice wander around it, tell me what you like about it (and what you don't!) and until next time... Keep it locked! (Blatant KWN rip-off completely intended!)