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Post by Lennon2217 on Oct 6, 2024 13:26:26 GMT -5
Why are they pushing this All My Love song? It's the most phoned in musical work they ever did at this point. I was going to post about that next. Chris really wants this to be a big moment for the band. Not sure the magic is there. In fact I know it’s not there. It’s no “Fix You” or “The Scientist” or “Clocks” or “O” or “Everything’s Not Lost” or “Everyday Life” or “Amsterdam”. He is humble right now. Zane tried to hype him up over the Dublin performance but Chris knows the fan call backs weren’t genuine. It’s like The Escapist said. This sounds like it was created by a Coldplay AI app or something. Chris is way way better than this garbage. |
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Post by matt on Oct 6, 2024 13:48:14 GMT -5
Why are they pushing this All My Love song? It's the most phoned in musical work they ever did at this point. Again, I really don't mind it and I think its a quite pleasant wee tune. And that is surprising because this is the kid of fodder I hate that killed recent albums stone dead. It's cheesy and sentimental as hell but it has a McCartney/Beatleseque instrumental and a Randy Newman style melody which is preferable to the generic 'Tik Tokker' wannabe romantic crap of previous albums. Love songs are as old as time so no problem here either. This ain't a Let Somebody Go monstrosity (having completely blanked it from my mind, I had to check the name of this piece of crap), so maybe my expectations are just so low. It doesn't have the epic instrumental catharsis of old Coldplay (simply because they aren't utilising the full band as per the norm for the last decade) but as songcraft goes its fine little tune. |
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Post by Manualex on Oct 6, 2024 14:21:03 GMT -5
10 more tracks released
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Post by matt on Oct 6, 2024 14:27:35 GMT -5
Nice, The Karate Kid - even though it's a Chris Martin solo piece - is a really lovely tune! Beautiful melody there. And sure enough, checked the credits and no sign of Max Martin. Just Coldplay and John Metcalfe (ex-Durutti Column member and orchestrator). Just on first listen, they've done a Noel and relegated two tunes that would easily have elevated the album (Karate Kid and Man In The Moon). Very good songs. |
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Post by glider on Oct 6, 2024 14:40:54 GMT -5
Ok, now I'm completely baffled.
I Am A Mountain is brilliant. Electric, hopeful, energized, inspired. One of the best songs he's ever written. Why is this a bonus track?
👋 is a gorgeous ambient-world song. Man In The Moon is a good one too. THIS is the Viva esque track.
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Post by batfink30 on Oct 6, 2024 14:51:03 GMT -5
Ok, now I'm completely baffled. I Am A Mountain is brilliant. Electric, hopeful, energized, inspired. One of the best songs he's ever written. Why is this a bonus track? 👋 is a gorgeous ambient-world song. Man In The Moon is a good one too. THIS is the Viva esque track. Almost as if Max Martin killed most of the album. |
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Post by matt on Oct 6, 2024 14:55:47 GMT -5
Ok, now I'm completely baffled. I Am A Mountain is brilliant. Electric, hopeful, energized, inspired. One of the best songs he's ever written. Why is this a bonus track?👋 is a gorgeous ambient-world song. Man In The Moon is a good one too. THIS is the Viva esque track. I Am A Mountain is just an acoustic version of the IAAM on the proper album, perhaps preferable to the sugary Max Martin coated production. Man In The Moon's omission is baffling, this one is great. One of their catchiest tunes in ages- recalls the finest pop moments from Viva La Vida (Life In Technicolor II comes to mind) and Mylo Xyloto eras. Superb stuff. |
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Post by glider on Oct 6, 2024 15:01:00 GMT -5
Ok, now I'm completely baffled. I Am A Mountain is brilliant. Electric, hopeful, energized, inspired. One of the best songs he's ever written. Why is this a bonus track?👋 is a gorgeous ambient-world song. Man In The Moon is a good one too. THIS is the Viva esque track. , perhaps preferable to the sugary Max Martin coated production. Man In The Moon's omission is baffling, this one is great. One of their catchiest tunes in ages- recalls the finest pop moments from Viva La Vida (Life In Technicolor II comes to mind) and Mylo Xyloto eras. Superb stuff. I didn't realize it was the same song until I just noticed it's the same lyrics. The production on the album version is just too saturated and overblown. Wow! |
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Post by Officer Jim Kurring on Oct 6, 2024 16:41:56 GMT -5
Coldplay has a limited channel on Siriüs XM, channel 17, I believe. I lost track of Coldplay years ago, great live band, saw them for the A Rush of Blood to the Head tour.
Turned it to their Sirius channel the other day, ‘Sparks’ was on….great song.
God bless.
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Post by Bellboy on Oct 7, 2024 6:13:47 GMT -5
The use of emojis as song titles will always annoy me.
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Post by Lennon2217 on Oct 7, 2024 7:36:55 GMT -5
The use of emojis as song titles will always annoy me. Gimmicky. That stuff never ages well. Plus they are 47. Not 12. |
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Post by Lennon2217 on Oct 7, 2024 7:40:06 GMT -5
It’s nice to have a bonus album of alt takes and unreleased stuff but it’s nothing too earth shattering.
I see a lot of Coldplay fans saying Karate Kid is one of the best songs the band has ever created. I find that ironic since it’s just Chris. It’s not a band track. It should been on the album but it’s not gonna set the world a blaze. Same goes for Man In The Moon. Finally a track that sounds like Coldplay is on it!!! Moon Music would be better with both these tracks on it as it adds some juice and life to the overall tone of the album.
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Post by theyknowwhatimean on Oct 7, 2024 8:37:47 GMT -5
The use of emojis as song titles will always annoy me. I also find all-caps and all-lower-case titles pretty annoying too. It feels too self-consciously “arty.” As if the artist is embarrassed about producing just another bunch of radio friendly unit shifters, so they try and push them into the realm of real “art.” Like Radiohead giving all their Hail to the Thief tunes an “(Or,…)” subtitle like they were Victorian novels. |
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Post by niftium on Oct 7, 2024 9:03:19 GMT -5
So can we make a better/more tolerable album by choosing the best 10 tracks available to us now? Or is it still just [poop emoji]?
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Post by The Escapist on Oct 7, 2024 9:43:45 GMT -5
The use of emojis as song titles will always annoy me. I also find all-caps and all-lower-case titles pretty annoying too. It feels too self-consciously “arty.” As if the artist is embarrassed about producing just another bunch of radio friendly unit shifters, so they try and push them into the field of real “art.” Like Radiohead giving all their Hail to the Thief tunes an “(Or,…)” subtitle like they were Victorian novels. It's become a branding thing, now. All caps is for those who are UNIQUE AND POWERFUL AND DANGEROUS. All lower-case is for sadlittleartistswhojustlikemakingsongssometimesiguess. And then the emojis and mixed-case thing Coldplay (Chris) are doing right now is just plain ugly. |
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Post by Lennon2217 on Oct 7, 2024 9:55:04 GMT -5
You take Moon Music, Rainbows, Aeterna, One World and A Wave, and you can start to see Moon’s version of Ghost Stories. A more somber record. One ponders if “Colortura” should have been held back for this album. Certainly fits more to my ears.
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Post by matt on Oct 7, 2024 16:02:13 GMT -5
Maybe it's just timing and it's been released at the right time for me personally, but for better or worse, the album is growing on me. In terms of a major release (as opposed to the minor releases of Ghost Stories and Everyday Life), it's by far and away my favourite since Mylo Xyloto. The album and bonus stuff genuinely fills me with warmth, with an EP to follow too (can't say we're short of content with this era). It's not nearly as blatantly commercial as I thought it would be, it has some flourishes of classic influences like Beatles, Randy Newman, Nile Rodgers and Elton John, Jon Hopkins experimental presence (been a big fan of for years) is scattered throughout and I don't hear too many gimmicks on it.
With a view towards the final two albums, I think this marks the end of them as a commercial entity. With 'All My Love' being their 'last single', I get the feeling songs like The Karate Kid is an indication of their next movement that will be the soundtrack to an animated musical. It has a glorious Broadway melody (akin to Elton John) that would be interesting for Chris Martin to delve deeper into with more showtunes. Of course, I hope 'Coldplay' return in its full capacity and not just a Chris solo project but pretty confident the final album, that will just be titled 'Coldplay', will be a return to the old style as he's hinted at, going 'full circle' by recording that one in a 'basic manner'. No singles to be released from that one either and will be a standalone album. A lot of this hinges on Max Martin's influence however, praying that they ditch him for one of these final albums (a few years back, Chris said he would produce all their remaining albums, hoping that has changed given the expanded scope of other producers on this album, i.e. Hopkins, Simpson, etc). If they are not releasing anymore singles, then hoping that means Max Martin's 'services' are no longer required.
But basically, what we know from the NME interview and others is the end could signal a return to the 'Oldplay' with more retrospectives on top of that. A band to have never looked back (some might say downright neglected their classic albums) there is a promise of revisiting older material following their final album, and we may be in for a treat in finally hearing a treasure chest of all the songs they have in the vaults (Car Kids anyone? The Race? All those Viva La Vida songs stacked away?). Also, being inspired to play smaller venues and revisiting the old albums (e.g. A Rush of Blood To The Head anniversary tour or a Viva La Vida tour), the Coldplay that many miss will return I am sure.
As Chris Martin said in the NME last week, for those who miss Oldplay, "who objected to collaborations with BTS, and miss our acoustic guitars, don't worry, it will all make sense in the end". For now, I'm enjoying Coldplay again and looking forward to their future. A welcome feeling after so many years of disillusionment and ignoring their future plans
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Post by Lennon2217 on Oct 7, 2024 16:17:16 GMT -5
Maybe it's just timing and it's been released at the right time for me personally, but for better or worse, the album is growing on me. In terms of a major release (as opposed to the minor releases of Ghost Stories and Everyday Life), it's by far and away my favourite since Mylo Xyloto. The album and bonus stuff genuinely fills me with warmth, with an EP to follow too (can't say we're short of content with this era). It's not nearly as blatantly commercial as I thought it would be, it has some flourishes of classic influences like Beatles, Randy Newman, Nile Rodgers and Elton John, Jon Hopkins experimental presence (been a big fan of for years) is scattered throughout and I don't hear too many gimmicks on it. With a view towards the final two albums, I think this marks the end of them as a commercial entity. With 'All My Love' being their 'last single', I get the feeling songs like The Karate Kid is an indication of their next movement that will be the soundtrack to an animated musical. It has a glorious Broadway melody (akin to Elton John) that would be interesting for Chris Martin to delve deeper into with more showtunes. Of course, I hope 'Coldplay' return in its full capacity and not just a Chris solo project but pretty confident the final album, that will just be titled 'Coldplay', will be a return to the old style as he's hinted at, going 'full circle' by recording that one in a 'basic manner'. No singles to be released from that one either and will be a standalone album. A lot of this hinges on Max Martin's influence however, praying that they ditch him for one of these final albums (a few years back, Chris said he would produce all their remaining albums, hoping that has changed given the expanded scope of other producers on this album, i.e. Hopkins, Simpson, etc). If they are not releasing anymore singles, then hoping that means Max Martin's 'services' are no longer required. But basically, what we know from the NME interview and others is the end could signal a return to the 'Oldplay' with more retrospectives on top of that. A band to have never looked back (some might say downright neglected their classic albums) there is a promise of revisiting older material following their final album, and we may be in for a treat in finally hearing a treasure chest of all the songs they have in the vaults (Car Kids anyone? The Race? All those Viva La Vida songs stacked away?). Also, being inspired to play smaller venues and revisiting the old albums (e.g. A Rush of Blood To The Head anniversary tour or a Viva La Vida tour), the Coldplay that many miss will return I am sure. As Chris Martin said in the NME last week, for those who miss Oldplay, "who objected to collaborations with BTS, and miss our acoustic guitars, don't worry, it will all make sense in the end". For now, I'm enjoying Coldplay again and looking forward to their future. A welcome feeling after so many years of disillusionment and ignoring their future plans Chris said in the Zane Lowe interview last week that Max is producing the remaining 2 albums. He also mentioned a future rarities album or unreleased songs that have been collecting dust over the last 20 years. He also mentioned this back in 2020 during a quarantine IG live chat. Ladder To The Sun please!!!! |
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Post by matt on Oct 7, 2024 16:38:59 GMT -5
Maybe it's just timing and it's been released at the right time for me personally, but for better or worse, the album is growing on me. In terms of a major release (as opposed to the minor releases of Ghost Stories and Everyday Life), it's by far and away my favourite since Mylo Xyloto. The album and bonus stuff genuinely fills me with warmth, with an EP to follow too (can't say we're short of content with this era). It's not nearly as blatantly commercial as I thought it would be, it has some flourishes of classic influences like Beatles, Randy Newman, Nile Rodgers and Elton John, Jon Hopkins experimental presence (been a big fan of for years) is scattered throughout and I don't hear too many gimmicks on it. With a view towards the final two albums, I think this marks the end of them as a commercial entity. With 'All My Love' being their 'last single', I get the feeling songs like The Karate Kid is an indication of their next movement that will be the soundtrack to an animated musical. It has a glorious Broadway melody (akin to Elton John) that would be interesting for Chris Martin to delve deeper into with more showtunes. Of course, I hope 'Coldplay' return in its full capacity and not just a Chris solo project but pretty confident the final album, that will just be titled 'Coldplay', will be a return to the old style as he's hinted at, going 'full circle' by recording that one in a 'basic manner'. No singles to be released from that one either and will be a standalone album. A lot of this hinges on Max Martin's influence however, praying that they ditch him for one of these final albums (a few years back, Chris said he would produce all their remaining albums, hoping that has changed given the expanded scope of other producers on this album, i.e. Hopkins, Simpson, etc). If they are not releasing anymore singles, then hoping that means Max Martin's 'services' are no longer required. But basically, what we know from the NME interview and others is the end could signal a return to the 'Oldplay' with more retrospectives on top of that. A band to have never looked back (some might say downright neglected their classic albums) there is a promise of revisiting older material following their final album, and we may be in for a treat in finally hearing a treasure chest of all the songs they have in the vaults (Car Kids anyone? The Race? All those Viva La Vida songs stacked away?). Also, being inspired to play smaller venues and revisiting the old albums (e.g. A Rush of Blood To The Head anniversary tour or a Viva La Vida tour), the Coldplay that many miss will return I am sure. As Chris Martin said in the NME last week, for those who miss Oldplay, "who objected to collaborations with BTS, and miss our acoustic guitars, don't worry, it will all make sense in the end". For now, I'm enjoying Coldplay again and looking forward to their future. A welcome feeling after so many years of disillusionment and ignoring their future plans . He also mentioned a figure rarities album or unreleased songs that have been collecting dust over the last 20 years. He also mentioned this back in 2020 during a quarantine IG live chat. Ladder To The Sun please!!!! Missed that, oh well, can only hope other producers dilute his influence. |
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Post by The Escapist on Oct 7, 2024 16:39:32 GMT -5
Four albums with Max Martin makes me want to foliate my skin with a cheese-grater.
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Post by The Escapist on Oct 7, 2024 17:21:10 GMT -5
Also, somewhat baffled by the reaction to these bonus tracks.
"Man in the Moon" sounds like the background music to a furniture advert. Eunuch-pop. I hate it.
"Karate Kid" is fine.
It's like to hear a stripped-back verison of "Mountain", but it's still music for an faux-inspirational biopic.
The three tracks which redeem this era are still all on the album proper: "Aeterna", "🌈", and "One World".
Three glimpses, there, of the more spectral and dynamic era we should be getting, rather than the castrated James-Corden-pop of "Jupiter" or "Good Feelings". You can add those with "People of the Pride" as the most ball-achingly banal things the band have ever produced; every inch of them neutered by Max Martin when they were hardly the new answer to "Politik" to start with. Bile rises in my gut at the thought of this being the vision of such a band's final chapter; all the talent is still there to make the sublime, sincere, band-driven brilliance which made them so gargantuan in the first place, but the kick of inspiration to bring it out has vanished. No-one but Coldplay could push a ten-minute space-ballad to ten million views on YouTube, but who is there to tell them that when their main producer would, by the band's own admission, have hacked it down to four minutes if allowed?
I know you should never judge art for what it isn't, but it is hard to resist the thought of what Coldplay's final push in the music industry could be. That latent artiness in their post-2005 music, from the abstract structure of "42" to the ice-cold pulse of "Midnight", from the blissful rush of "Chinese Sleep Chant" to the swampy heat of "Arabesque" - what if they put the hits to one side for a second and went into the studio just to push themselves as musicians, as song-writers, as a band? There aren't many acts in the history of mainstream music with such vibrant variety married to such steady melodic fluency, and it's a shame for that balance to be the rare exception between onslaughts of IKEA-commercial bullshit. I'll always love how they injected that colour straight into the heart of their music in the Eno era ("Cemeteries of London" is a band at their most accessible and most creative all at once), but just for once, I'd like to hear them put the emphasis on their ambition.
It's still in there. I hope Chris remembers what he said about their inspiration for the Viva sessions:
"We can't get bigger, so we'll just have to get better".
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Post by Lennon2217 on Oct 7, 2024 18:13:56 GMT -5
Also, somewhat baffled by the reaction to these bonus tracks. "Man in the Moon" sounds like the background music to a furniture advert. Eunuch-pop. I hate it. "Karate Kid" is fine. It's like to hear a stripped-back verison of "Mountain", but it's still music for an faux-inspirational biopic. The three tracks which redeem this era are still all on the album proper: "Aeterna", "🌈", and "One World". Three glimpses, there, of the more spectral and dynamic era we should be getting, rather than the castrated James-Corden-pop of "Jupiter" or "Good Feelings". You can add those with "People of the Pride" as the most ball-achingly banal things the band have ever produced; every inch of them neutered by Max Martin when they were hardly the new answer to "Politik" to start with. Bile rises in my gut at the thought of this being the vision of such a band's final chapter; all the talent is still there to make the sublime, sincere, band-driven brilliance which made them so gargantuan in the first place, but the kick of inspiration to bring it out has vanished. No-one but Coldplay could push a ten-minute space-ballad to ten million views on YouTube, but who is there to tell them that when their main producer would, by the band's own admission, have hacked it down to four minutes if allowed? I know you should never judge art for what it isn't, but it is hard to resist the thought of what Coldplay's final push in the music industry could be. That latent artiness in their post-2005 music, from the abstract structure of "42" to the ice-cold pulse of "Midnight", from the blissful rush of "Chinese Sleep Chant" to the swampy heat of "Arabesque" - what if they put the hits to one side for a second and went into the studio just to push themselves as musicians, as song-writers, as a band? There aren't many acts in the history of mainstream music with such vibrant variety married to such steady melodic fluency, and it's a shame for that balance to be the rare exception between onslaughts of IKEA-commercial bullshit. I'll always love how they injected that colour straight into the heart of their music in the Eno era ("Cemeteries of London" is a band at their most accessible and most creative all at once), but just for once, I'd like to hear them put the emphasis on their ambition. It's still in there. I hope Chris remembers what he said about their inspiration for the Viva sessions: "We can't get bigger, so we'll just have to get better". A good quote right there. I always found it ironic that Chris was so stunned by the critical backlash of X&Y, despite the best selling albumsof 2005 and fix you as a mega hit, that it inspired him to make Viva. Yet Coldplay has gotten even worse reviews over the last 10-12 years than X&Y ever got yet he’s never tried to make another huge statement. It’s just doubling down on collaborations and producers. Everyday Life was but a brief revelry. |
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Post by Sadie on Oct 7, 2024 18:21:23 GMT -5
Also, somewhat baffled by the reaction to these bonus tracks. "Man in the Moon" sounds like the background music to a furniture advert. Eunuch-pop. I hate it. "Karate Kid" is fine. It's like to hear a stripped-back verison of "Mountain", but it's still music for an faux-inspirational biopic. The three tracks which redeem this era are still all on the album proper: "Aeterna", "🌈", and "One World". Three glimpses, there, of the more spectral and dynamic era we should be getting, rather than the castrated James-Corden-pop of "Jupiter" or "Good Feelings". You can add those with "People of the Pride" as the most ball-achingly banal things the band have ever produced; every inch of them neutered by Max Martin when they were hardly the new answer to "Politik" to start with. Bile rises in my gut at the thought of this being the vision of such a band's final chapter; all the talent is still there to make the sublime, sincere, band-driven brilliance which made them so gargantuan in the first place, but the kick of inspiration to bring it out has vanished. No-one but Coldplay could push a ten-minute space-ballad to ten million views on YouTube, but who is there to tell them that when their main producer would, by the band's own admission, have hacked it down to four minutes if allowed? I know you should never judge art for what it isn't, but it is hard to resist the thought of what Coldplay's final push in the music industry could be. That latent artiness in their post-2005 music, from the abstract structure of "42" to the ice-cold pulse of "Midnight", from the blissful rush of "Chinese Sleep Chant" to the swampy heat of "Arabesque" - what if they put the hits to one side for a second and went into the studio just to push themselves as musicians, as song-writers, as a band? There aren't many acts in the history of mainstream music with such vibrant variety married to such steady melodic fluency, and it's a shame for that balance to be the rare exception between onslaughts of IKEA-commercial bullshit. I'll always love how they injected that colour straight into the heart of their music in the Eno era ("Cemeteries of London" is a band at their most accessible and most creative all at once), but just for once, I'd like to hear them put the emphasis on their ambition. It's still in there. I hope Chris remembers what he said about their inspiration for the Viva sessions: "We can't get bigger, so we'll just have to get better". The thing that winds me up is the second anyone posts about how they don't like the new material on social media their die-hard fans will reply being like 'yeah but you're not an artist if you don't take risks etc' but that just leaves me baffled cause what they're doing is literally the polar opposite of taking risks |
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Post by glider on Oct 7, 2024 18:54:46 GMT -5
It was mentioned before but Coldplay is as good as their producer. Max Martin is sugarcoat pop bonanza. Paul Epworth is MOR. Ryan Tedder is 2013-2015 iTunes fodder. "Stargate" is dated pop industry machine music. All painfully average, boring producers.
The interesting thing about Max Martin is he did indeed work with the band on Everyday Life, even though his total involvement on that record remains a mystery.
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Post by matt on Oct 7, 2024 18:58:42 GMT -5
Also, somewhat baffled by the reaction to these bonus tracks. "Man in the Moon" sounds like the background music to a furniture advert. Eunuch-pop. I hate it. "Karate Kid" is fine. It's like to hear a stripped-back verison of "Mountain", but it's still music for an faux-inspirational biopic. The three tracks which redeem this era are still all on the album proper: "Aeterna", "🌈", and "One World". Three glimpses, there, of the more spectral and dynamic era we should be getting, rather than the castrated James-Corden-pop of "Jupiter" or "Good Feelings". You can add those with "People of the Pride" as the most ball-achingly banal things the band have ever produced; every inch of them neutered by Max Martin when they were hardly the new answer to "Politik" to start with. Bile rises in my gut at the thought of this being the vision of such a band's final chapter; all the talent is still there to make the sublime, sincere, band-driven brilliance which made them so gargantuan in the first place, but the kick of inspiration to bring it out has vanished. No-one but Coldplay could push a ten-minute space-ballad to ten million views on YouTube, but who is there to tell them that when their main producer would, by the band's own admission, have hacked it down to four minutes if allowed? I know you should never judge art for what it isn't, but it is hard to resist the thought of what Coldplay's final push in the music industry could be. That latent artiness in their post-2005 music, from the abstract structure of "42" to the ice-cold pulse of "Midnight", from the blissful rush of "Chinese Sleep Chant" to the swampy heat of "Arabesque" - what if they put the hits to one side for a second and went into the studio just to push themselves as musicians, as song-writers, as a band? There aren't many acts in the history of mainstream music with such vibrant variety married to such steady melodic fluency, and it's a shame for that balance to be the rare exception between onslaughts of IKEA-commercial bullshit. I'll always love how they injected that colour straight into the heart of their music in the Eno era ("Cemeteries of London" is a band at their most accessible and most creative all at once), but just for once, I'd like to hear them put the emphasis on their ambition. It's still in there. I hope Chris remembers what he said about their inspiration for the Viva sessions: "We can't get bigger, so we'll just have to get better". A good quote right there. I always found it ironic that Chris was so stunned by the critical backlash of X&Y, despite the best selling albumsof 2005 and fix you as a mega hit, that it inspired him to make Viva. Yet Coldplay has gotten even worse reviews over the last 10-12 years than X&Y ever got yet he’s never tried to make another huge statement. It’s just doubling down on collaborations and producers. Everyday Life was but a brief revelry. Part of me thinks he gave up any sense of artistry after Viva La Vida. While it got a lot of reluctantly good reviews, there were naysayers who had already made their mind up before hearing it. After that he probably thought 'fuck the critics, I can't be arsed with this' and decided to make music that appealed to the masses more than ever before. |
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Nov 4, 2024 5:04:30 GMT -5
Nov 4, 2024 5:04:30 GMT -5