Come back to us, please; we need and miss you. You captured our affections with 2004’s Hopes and Fears and reaffirmed our feelings for you with 2006’s Under the Iron Sea. We forgive you for breaking our hearts with 2008’s Perfect Symmetry. We heard the song “Clear Skies” on 2010’s EP Night Train and anticipated the rekindling of our love. Your latest release, Strangeland, reminds us that if you love something, you should let it go and hope that one day it will come back to you. Strangeland is an appropriate name for the album. It’s a place we’ve never been and a place we do not wish to return. Stylistically the album is a far cry from Perfect Symmetry and elicits memories of days gone by, but lacks the compassion and rawness of the bands first two albums. It leaves us with an emotional void. It’s as if they no longer really love us and are just sticking with us out of obligation. They seem to be simply going through the motions leaving us with songs that are lifeless and boring. Here we do not find the passion in vocals, production, and arrangement that we crave so badly. We also long for the familiar vocal stylings of Tom Chaplin. Chaplin’s voice has a different timbre and he sings much lower than his vocal range. It makes us wonder if he spent a substantial amount of time locked in a closet with Brandon Flowers (not that we don’t love Mr. Flowers.) We really do love you, Kean, but for now, we are letting you go because we can’t stand the pain. We’ll hold our breath and wait for your return.