Destrokk Posted December 27, 2010 Share Posted December 27, 2010 Alrighty then! It was sunny July, vacation time for coldplayers to be glued to their computers to check for any updates. We start with: July 03, 2010 From the Bakery to the Beehive to the Greenhouse! Coldplay news Coldplay have crammed so much plant life into new studios that their support staff have labelled it "The Greenhouse", reports The Sun this morning, in an article that follows on nicely from Roadie #42's latest blog last week. There are also new pictures of Chris out in London with Moses courtesy of the Celebritybabyscoop website [thanks mimixxx, In a telescope lens, scusi, TheLizzy & jenflor] The Sun continues, "Frontman Chris Martin is taking a keen interest in horticulture at the moment. And at a recent garden party at his north London home he bored, sorry, told pals, including Richard Ashcroft, all about it. It's taken such a hold that pot plants in the tiny studios - also in north London - are everywhere. A pal said: "With all the greenery in there it's now a real squeeze." Meanwhile, Chris took in a little of London's sunshine on Thursday afternoon and showed off the new studs in both his ears. Isn't he a bit old for that?" http://www.coldplaying.com/index.php?name=News&file=article&sid=7172 What amused me, is how most people freaked out about that earing :lol: Pictures of Chris Martin in London (1st July 2010): Jul 07, 2010 Official site interviews artwork designer for Brothers and Sisters cover The official Coldplay site continues their series of news articles that focus on interviewing the designers of some of the artwork to their previous releases. You can discuss the artwork interviews series at the Coldplay forum here onwards [thanks coldplayisawesome] Art History 2# is the Brothers and Sisters EP... We continue our new series of interviews with the designers behind Colpdplay's single and album covers, with a look at the band's second release, Brothers & Sisters. Like their first single, it was designed by a friend of the band, John Hilton... What was the thought process behind that one? That was more like a proper project at college. I treated them like the client. At the time, they were quite into Radiohead, so it was quite Radiohead-y. I did lots of ideas in sketchbooks and on Photoshop. And this was when Photoshop was still quite new. What's on the cover? Well there's just a little image of some drowning, bobbing people, in that sketchy way. They quite liked that, but it was a bit boring on its own. I had this picture from my back garden in my horrible little student home in Birmingham. I remember there was this white pitbull dog in the garden next door which just used to bark constantly and drive me nuts. So it was a kind of angst-y, teenage-y picture, and it was supposed to be about being somewhere not so great. It was middle class angst, I suppose. More... http://www.coldplaying.com/index.php?name=News&file=article&sid=7177 Jul 11, 2010 Parachute's 10th birthday As part of the countdown to the 10th anniversary of Coldplay's debut album, Parachutes, Coldplaying looks back on the recording process, courtesy of producer Ken Nelson... Ken Nelson favours the old school of recording, based around clean signal paths, live playing and analogue tape — but that hasn't stopped him working with some of the hottest new bands in Britain. Among them are Coldplay, whose debut Parachutes album crashed straight into the charts at number one. "I like bands who can play live," insists Ken Nelson. "That's what I've done more or less all my recording life: I try to get bands to play together. That's the way they rehearse, that's the way they play live, so why change anything when you go to the studio?" It's an old-fashioned approach, but one that has brought Nelson considerable success, along with the opportunity to work with some of the most exciting new bands around. He made his name as engineer on Gomez's remarkable debut album Bring It On, which won the 1998 Mercury Prize, and its follow-up Liquid Skin. And if favourites Coldplay should fall foul of the notoriously fickle judging process this year, there's always the possibility that Badly Drawn Boy Damon Gough — whose Hour Of The Bewilderbeast album Nelson also worked on — might walk off with the gong. (By the time you read this, the result will already be public knowledge...) ... Parachutes Track By Track • 'DON'T PANIC': "One of my favourite tracks on the album. I love the way it's been arranged. This was a live take — acoustic guitar, vocal, drums and bass. Johnny did two takes of overdubbed guitar and we used a little bit of one, a little bit of the other. And they have this little pump organ, they don't use it live, it's a two-and-a-half octave keyboard where you have to pump with your feet — Chris plays it, and he can sing at the same time. It's on quite a few of the tracks, though it's very subtle." • 'SHIVER': "This was one where Chris's vocals were done in one take. He recorded more than one take, but the one we picked was one take, warts and all." • 'SPIES': "The backing track for this was recorded at Rockfield. It took a few days to get a backing track that we were all happy with, but once it was there, it was fairly easy from then on. But the difficulty is actually getting the backing track! We had Chris in one room, it was like a little cubby hole, and he was in there for about three days while we were trying to get a decent take of this. And we had Will the drummer in another room, and Guy the bass player was playing in the control room. So they were quite separate, but that was the way we decided to do it, and it just took a long time to get a really good take of it. You get to a point where each take they do will be quite good, and you know you're close to it, and you've just got to keep going. It's quite frustrating. The final take of that track is fantastic — the guitar you hear is the guide guitar that he did, and he redid the vocals. So there'll be things like spillage of the vocal onto the guitar track, but it doesn't matter. Trying to redo that guitar would've been very, very difficult — and why do it? That was part of the philosophy. Keep as much live as you can." • 'SPARKS': "This was another one that was recorded at the same time as 'We Never Change' — basically a live take again, and then Johnny added his guitars later." • 'YELLOW': "We started recording that one upstairs in the project studio. The problem we had with 'Yellow' was getting the tempo just right, because a beat either side of the tempo we picked didn't have the same groove. It lost the feel of it. So we got it live and then Johnny overdubbed his guitars and we did the vocals. We did the backing vocals, the falsetto 'Oohs' and 'Aahs' in the control room as we worked them out. It all sounds very easy, but it was quite intense because we recorded it two or three times until we were happy with what we got. You can imagine that if you've recorded something and put quite a lot into it, then to decide that you're going to do it again can be quite depressing. "'Yellow' was written at Rockfield when we were there. The studio we were in is called the Quadrangle Studio — the studio is along one side of an open courtyard about 50 yards square, and we went out one night, and because there were so few lights, the stars were just amazing. And Guy just came up with the line 'Look at the stars'. And then they went away, they had some time off at Christmas, and they'd been gigging it and it was ready to record." • 'TROUBLE': "This was recorded four times before we got the take that we wanted. The backing track was recorded, and then each time we'd add to it to see if it was working. But we decided on the first three versions that it wasn't really happening. For the last one, we got Pro Tools in, and it was recorded into Pro Tools with a shaker providing the rhythm. Will played drums and Chris played piano in the little wooden room, and that was the backing track. The bass went down quite quickly and then Johnny did his guitars." • 'PARACHUTES': "This is just a 50-second acoustic guitar and vocal track, which again took quite a few takes to get right." • 'HIGH SPEED': "This wasn't done by me, it was done by the other producer [Chris Allison] last summer." • 'WE NEVER CHANGE': "One of the proudest things on the Coldplay album for me. It was actually done live, the whole track, including the vocal, upstairs. It was basically straight into the mic amps, straight to tape. I remember when we got the take of it I was just sitting there thinking 'This is fantastic'. They were saying 'Let's try another', and we tried different takes of it, but I knew that take of it was great. And that track was sent off to Michael Brauer to be mixed, just to give him something to do, 'cause he was waiting, 'cause we went a little bit over time. And that mix came back, and when we put it on I was simply blown away by it." • 'EVERYTHING'S NOT LOST': "We did a take of this at Rockfield, and it didn't quite work out, so we did it again here. And we ended up recording it in the last week of recording, it was the last thing we did. "There's an extra hidden track on the album called 'Life Is For Living', which is a little 3/4 thing they had. It's mainly pump organ — you hear the pump organ quite clearly on that one — which was recorded upstairs, live again." ...more: http://www.coldplaying.com/index.php?name=News&file=article&sid=7179 As part of Coldplaying's memoirs of the first album era, we also look back on a special interview of the band, courtesy of NME, at a time when the music magazine used to like Coldplay, of course... Chris Martin stumbles into the pub in King's Cross, leans on the door for support and squints into the beer garden. His eyes are bloodshot saucers and he runs a nail-bitten, dirt-stained hand across his three-day old stubble. He spots NME and approaches. "Sorry I'm late," he slurs, the stench of alcohol on his breath forcing us to wince. "Haven't slept since Glasgow. Fuck knows when that was. But you know how it is on tour, eh? Lots of distractions, know what I mean?" And with that he sit down, fishes in his pocket for a half-smoked spliff and promptly sparks up. One minute later, he's fast asleep. Thought you knew Coldplay then, did you? Had them marked down as the indie Westlife. Travis junior. Nice chaps with nice songs. Well-spoken young men with a past so wholesomely squeaky clean it would have Enid Blyton reaching for the crack pipe. That's the power of media representation. And although the band's singer and chief songwriter Chris Martin didn't really introduce himself in such a positively insalubrious fashion (that was a horrid joke; he bounds in beaming, looking sickeningly healthy), the fact is that while the Coldplay record might be hithero untarnished, it's nevertheless a record that needs to be set straight. ... "In an ideal world there would be no need for this," agrees Chris. "Our problem is we have that posture: it's far more rock'n'roll for us to be honest and, you know, we haven't had a particularly rock'n'roll upbringing. It's just hard to validate why we're here, and I hate that. It's much better that we're honest about it," says Will. "There's nothing worse than people pretending to be something they aren't. You've got to be true to what you are. Shouldn't have to feel guilty about where you come from." ... "It's our thing," said Chris earlier, by way of explaination. ...more: http://www.coldplaying.com/index.php?name=News&file=article&sid=7182 As part of Coldplaying's countdown to the 10th anniversary of Coldplay's debut album, Parachutes, we look back on the reviews of the album, courtesy of NME, at a time when the music magazine used to like Coldplay, of course... Forget trashing rooms and rent-a-quotes, just listen. It's all a question of what you want from your rock stars. The criticism most often levelled at Coldplay (certainly round these parts) is that they will never be the saviours of rock'n'roll. They will never cause front-page tabloid sensation and they really like their parents. Frankly, they're more likely to enjoy a nice cup of tea in front of the TV than throw it out the window. But, hang on. Weren't Oasis everything we could want from a rock band once? They fought, had rock star girlfriends, slagged people off and wanted loads of cash to blow on stupid houses. Fine, but those are exactly the things that have made them an embarrassment; an endless, dull cocaine comedown. Remember the disappointment you felt after 'Be Here Now'? Coldplay will never let you down like that... Like Travis before them, Coldplay care about what really counts. 'Parachutes' is all that matters in the world to singer Chris Martin. It only takes one listen to realise how he has poured every thought, every feeling he's had in the last two years into this record. With the focus so much on Chris' voice here, it's like reading one long, intimate love letter. It's powerful because its sentiment is so simple. And, let's face it, so easy for everyone to comprehend. Again, in the devotional 'Yellow' ("For you, I bleed myself dry", no less) or the gorgeous regret of 'Trouble' ("I never meant to do you harm"), it's the force of feeling which counts. That's what brings the entirely favourable comparisons to Jeff Buckley, The Verve, even Radiohead. But it's far gentler than anything the latter have ever done. Unlike Thom Yorke, Chris exists in a place we can almost understand. A place that Fran Healy might have passed through, but is too happy with his girlfriend to really remember. All told, it's incredible this is a debut album. Accomplished, yet subtle, it works perfectly as a whole in a way all the production skills in the world couldn't replicate. Forget trashing rooms and rent-a-quotes, just listen. This really is all that matters. Let it be that simple for once. 9 out of 10. July 20th, 2010 Richard Ashcroft and Michael & Emily Eavis talk about Coldplay in new interviews Former frontman for The Verve, Richard Ashcroft has been talking in an interview to The National today about Chris Martin and Coldplay in general, ahead of his most ambitious musical reinvention yet, RPA & the United Nations of Sound. Below is what they said in the online article... [thanks mimixxx] A more unlikely celebrity friend, perhaps, is Coldplay’s Chris Martin, who introduced Ashcroft as "the best singer in the world" when they performed The Verve’s Bitter Sweet Symphony together at the Live8 mega-show in London five summers ago. Ashcroft has also toured with Coldplay, and does not share the disdain that some rockers show towards Martin’s wholesome, family-friendly image. "His drive is immense," the singer says. "If Chris was an athlete he’d be a gold-medal winner, seriously. People underestimate him. As a songsmith, he’s a great writer of songs that people want to stand and sing back to him. All I can say is I’ve toured with the guys, and all of them individually have been really nice towards me, my wife, my family, my kids. I can only go on a human level. I think they are a much less homogenised thing than a lot of bands." Meanwhile, Glastonbury organisers Michael and Emily Eavis have been speaking in a video interview to NME about Coldplay's headlining slot in 2002 and how important the band are to the festival. Links to the the Coldplay-related videos along with a descrption are below... 1) Michael Eavis reveals how The Strokes pulled out of the Pilton Party village fundraiser, which led to Coldplay's Chris Martin stepping in and subsequently headlining the fest. Plus Emily on the time Neil Young stopped his bus to photograph the site... here 2) The festival organisers try to decide on their favourite headline act from after the millenium, and narrow it down to Coldplay, David Bowie and Jay-Z... here http://www.coldplaying.com/index.php?name=News&file=article&sid=7187 July 25th, 2010 Swizz Beatz working with Coldplay on new material production The rapper and producer Swizz Beatz, who is engaged to and expecting a child with Alicia Keys, announced this week that he is producing material with Coldplay. It has not yet been confirmed whether the song(s) will make the cut for Coldplay's LP5, but Swizz Beatz has previously worked with Coldplay three years ago on a mix called Part of the Plan so this is not the first time the two artists have combined together. More discussion on this at the Coldplay forum here [thanks mimixxx & coldplayisawesome] Discussing his projects, Swizz Beats was quoted by Digital Spy as saying: "I'm working on my album which is super incredible. Got everybody on there from Jay-Z to John Legend to Mary [J. Blige] to Drake. Super amazing album", he told OK. "I'm also working on Lenny Kravitz's new album, working with Coldplay. When you're in album mode and you're in producing mode, working with any great artist you have fun and try to create the best music you can create." Swizz Beatz confirmed that Jay-Z, Alicia Keys and Drake will all appear on his own upcoming solo album. He added: "On one song [Alicia] just played keys on. I don't know [which], cause I don't know which one I'm going to use. I have a few songs. I'm probably going to drop my single with Mary before the summer is over. I'm shooting for that and I'm looking for Fall to be Swizz Beatz mania." http://www.coldplaying.com/index.php?name=News&file=article&sid=7189 July 27th, 2010 Rhythm del Mundo's Clocks track gets a latin makeover Both AOL Radio Blog and Coldplay's official site are reporting this week that Coldplay and Lele, the singer from top Cuban band Los Van Van, collaborate on 'Clocks / Relojes,' a Cuban version of Coldplay's Top 10 hit 'Clocks,' highlighted on the Afro-Cuban relief effort album, 'Revival.' http://www.coldplaying.com/index.php?name=News&file=article&sid=7191 The track is dominated by a more uplifting, Cuban mix full of conga and batá drums, trumpets and poppy piano, while Lele and Chris Martin's vocals interchange, as well as the hypnotic 'Clocks' piano melody with the new, revised one. The album, 'Revival,' is currently available on iTunes, with all proceeds going to Artists Planet Earth. To hear the Cuban remix of 'Clocks,' head over to AOL Radio's Adult Rock station. If you're in the UK, Amazon have the CD here and the download here. Back in 2006, a Cuban-styled version of Clocks featured on the Rhythms Del Mundo album, released by Artists Project Earth (APE), a UK organisation which focuses on disaster relief and climate change awareness. The album, 'Revival,' was conceptualized by Rhythms Del Mundo (RDM) and their partnership with NGO Artists Project Earth (APE), to offer Afro-Cuban remixes of popular songs, while supporting relief efforts in Haiti, Chile, and Tibet. Other highlights on the album include Bob Dylan's 'A Hard Rain's a Gonna Fall,' Franz Ferdinand's 'The Dark of the Matinee,' and KT Tunstall's cover of Queen's hit 'Somebody to Love,' among others. It was a pretty busy month, but there wasn't much news or hints about the album in the future, but there was for the past in Parachutes 10th birthday :nice: Link to comment Share on other sites More sharing options...
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