Press reviews

[Jedi Leo]

I found this article, quoting quite a few early press reviews. Surprisingly positive, more than I expected.

 

http://m.idolator.com/pl/6008082/review-revue-coldplay-paradise

 

This morning we noted that Coldplay’s new single “Paradise” is a far moodier affair than previous single “Every Teardrop Is A Waterfall,” with dramatic strings and chords and just the right touch of melancholy for the onset of the fall season. In other words, we dug it! But what did the rest of the Internet have to say about the second single from Mylo Xyloto? Head below for our roundup of critics’ opinions on the track.

 

:: HitFix notes, “I find the electronic clap track unnervingly cheap as an arena-rock device, but if Coldplay’s design was to make a song that gets butts up out of the seats, they’ve got it.”

 

:: Los Angeles Times blog Pop & Hiss heard something familiar with the tune: “Like most things Coldplay, it sticks within a very specific sonic realm; it’s immediately identifiable as a Coldplay song; Chris Martin croons about a woman longing to escape her life for paradise, and it features one of the band’s instantly sticky choruses.”

 

:: Prefixmag concurred: “It’s a typical slice of anthemic balladry from Chris Martin and his band, with his heavy falsetto to the fore, plenty of strings thrown in, and a hugely bombastic chorus. In other words, petty much business as usual for Coldplay.”

 

:: Entertainment Weekly’s Music Mix liked what they heard: “A kinder, gentler song than the more bombastic ‘Teardrop,’ it still delivers a pretty powerful melodic punch.”

 

:: MTV Buzzworthy points out that “Chris Martin stays away from baby-making lyrics in favor of an emotional story.”

 

:: Holy Moly! also gave the song a thumbs-up: “When we said Coldplay’s last single was good, you were all like, ‘Huh?’ and we were all like, ‘Uh huh’, and you were all like, ‘No way.’ So please try not to think badly of us when we say that Coldplay’s new single ‘Paradise’ has also registered strongly on the does-not-suck-ometer.”

 

:: Spin points out the following: “Coldplay frontman Chris Martin says in a press release the band started writing their new album after listening to Blur’s ‘Sing,’ which appears on the U.K. version of the Damon Albarn-led British popsters’ 1991 debut album Leisure… And in fact, ‘Paradise”=; is built around slowly rotating orchestration that quite a bit resembles the early Blur track’s hypnotic chords. Martin steps back out in front on the more traditionally stately, piano-driven verses, but the swooning, impressionistic hook again recalls some of that influential Albarn group’s art-school leanings.”

 

:: Says Paste, “Chris Martin, who cites early Blur as the song’s chief inspiration, delivers a hooky falsetto chorus consisting of the repetition of ‘para-para-paradise,’ lacing the Brian Eno-treated sea of sound with an lighter-than-air pop sheen.”

 

:: Britscene chimed in with this: “You can definitely imagine this tune being featured on movie soundtracks and TV commercials as it has this well crafted Coldplay anthem feel, with a string arrangement and solid progression.”

 

:: Finally, Stereogum called “Paradise” a “grandiose cut with a bare, pretty melody accented by a chorus of strings.”

 

Any other reviews you found?

[busybeeburns]

was just going to post a new thread. You beat me to it :) Here's one.

 

 

Coldplay's 'Paradise': The New Single From the Great Guardians of Treacle

 

The band has changed its clothing and sonic palette, but its wonderfully wimpy sensibility remains

 

The promotional photographs and videos put out by a music group aren't always the best places to go scavenging for clues to a band's new work. But in the case of Coldplay, perhaps the least dangerous and most promotable band in the history of time—a group so lovably devoid of edge they make The Monkees look like Insane Clown Posse—there is in fact no better place to find their soul than in their marketing material.

 

On 2008's Viva La Vida or Death and All His Friends, the album cover featured white letters slapped on a Delacroix painting of Lady Liberty leading the French Revolution of 1830. The band overhauled their wardrobe for the neo-Revolutionary theme, prancing around with red-white-and-blue arm bands, like members of a high school production of Les Miserables accessorized by Old Navy. It was all very weird for a conscientiously unrebellious band, but somehow the rebel theme paid off. The album's most iconic songs—"Violet Hill," "Viva La Vida," "Death and All of His Friends"—strutted to the beats of marching drums and shouted choruses. It was believable, if you closed your eyes and didn't pay too much attention to the words. (What would it mean for death to have just one friend? How many friends does death have, anyway?)

 

For their latest effort, Coldplay overhauled their color palette, again. In the video for the first single of 2011, "Every Teardrop Is a Waterfall," front man Chris Martin is dressed in a pink T-shirt, a baby-blue jacket with spiral badges, and a pink watch. He's dancing around an underpass somewhere covered by glow-in-the-dark, spray-paint graffiti. Do you get it? By swapping Tricolour arm bands for pink patches, they're trading militaristic beats for the brash syth-pop of the 1980s. This is a band that wears its heart on its sleeve so literally, you can know their intentions by what they stitch to their jackets.

 

This brings us to "Paradise," the second single off the band's upcoming album Mylo Xyloto. A pretty flourish of strings lays a bed for a grand display of stomping synthesizers that are practically begging for Kanye West to speed and spice up with an 808. When the chorus comes—complete with a jubilation of far-away, melismatic "ohs"—the melodies have closed their circles, and one thing is unmistakable: This is going to make a great car commercial.

 

Whether it makes for a great song is more difficult to say. At its heart, "Paradise" is a typical Coldplay tune with the chorus reduced to a word and the orchestration put on polyphonic steroids. The classic C-Am-F-G chord progression is there, somewhere, swimming in the synth swells, waiting to be discovered and remixed with "Fix You." The melodies are still symmetrical, two steps forward, two steps back, nimble enough to stay ahead of a first listen, and disguised enough to surprise a 10th.

 

Under the stitched spirals and sleeves, Coldplay is really all of a piece. A doleful, melodramatic piece. "All of us are done for," Martin sang on the first song of Coldplay's first LP. Ten years and 20 million albums sold have done nothing to dissuade his downheartedness. Every teardrop is still a waterfall. "Life goes on, it gets so heavy," he sings in a torpid interlude on "Paradise," "the wheel breaks the butterfly, every tear, a waterfall, in the night, the stormy night, she closed her eyes."

 

This is maudlin crap. And guess what? Chris Martin doesn't give a flying fuck. He's a candy factory of melodies, and his heart is a suspended orb of caramelized goo. His veins run cold with treacle. And he's basically the richest piano player in the world.

 

Subjecting Coldplay's lyrics to Talmudic exegesis is breaking the butterfly upon a wheel, to borrow a lyric. Some bands use their music to start a polemic. Others prefer make a statement. Some are happy to pose a question. Coldplay, a band that closes every chord and writes lyrics that would embarrass a Girl Scout's diary, might have nothing to say. Well, nothing except: "And here's another pretty one." Are you okay with that? OK, then. Me too.

 

http://www.theatlantic.com/entertainment/archive/2011/09/coldplays-paradise-the-new-single-from-the-great-guardians-of-treacle/244951/

[the_escapist]

Pretty interesting Paradise review from The Atlantic

 

Coldplay's 'Paradise': The New Single From the Great Guardians of Treacle

By Derek Thompson

The band has changed its clothing and sonic palette, but its wonderfully wimpy sensibility remains

 

 

The promotional photographs and videos put out by a music group aren't always the best places to go scavenging for clues to a band's new work. But in the case of Coldplay, perhaps the least dangerous and most promotable band in the history of time—a group so lovably devoid of edge they make The Monkees look like Insane Clown Posse—there is in fact no better place to find their soul than in their marketing material.

 

On 2008's Viva La Vida or Death and All His Friends, the album cover featured white letters slapped on a Delacroix painting of Lady Liberty leading the French Revolution of 1830. The band overhauled their wardrobe for the neo-Revolutionary theme, prancing around with red-white-and-blue arm bands, like members of a high school production of Les Miserables accessorized by Old Navy. It was all very weird for a conscientiously unrebellious band, but somehow the rebel theme paid off. The album's most iconic songs—"Violet Hill," "Viva La Vida," "Death and All of His Friends"—strutted to the beats of marching drums and shouted choruses. It was believable, if you closed your eyes and didn't pay too much attention to the words. (What would it mean for death to have just one friend? How many friends does death have, anyway?)

 

One thing is unmistakable: This is going to make a great car commercial

For their latest effort, Coldplay overhauled their color palette, again. In the video for the first single of 2011, "Every Teardrop Is a Waterfall," front man Chris Martin is dressed in a pink T-shirt, a baby-blue jacket with spiral badges, and a pink watch. He's dancing around an underpass somewhere covered by glow-in-the-dark, spray-paint graffiti. Do you get it? By swapping Tricolour arm bands for pink patches, they're trading militaristic beats for the brash syth-pop of the 1980s. This is a band that wears its heart on its sleeve so literally, you can know their intentions by what they stitch to their jackets.

 

This brings us to "Paradise," the second single off the band's upcoming album Mylo Xyloto. A pretty flourish of strings lays a bed for a grand display of stomping synthesizers that are practically begging for Kanye West to speed and spice up with an 808. When the chorus comes—complete with a jubilation of far-away, melismatic "ohs"—the melodies have closed their circles, and one thing is unmistakable: This is going to make a great car commercial.

 

Whether it makes for a great song is more difficult to say. At its heart, "Paradise" is a typical Coldplay tune with the chorus reduced to a word and the orchestration put on polyphonic steroids. The classic C-Am-F-G chord progression is there, somewhere, swimming in the synth swells, waiting to be discovered and remixed with "Fix You." The melodies are still symmetrical, two steps forward, two steps back, nimble enough to stay ahead of a first listen, and disguised enough to surprise a 10th.

 

Under the stitched spirals and sleeves, Coldplay is really all of a piece. A doleful, melodramatic piece. "All of us are done for," Martin sang on the first song of Coldplay's first LP. Ten years and 20 million albums sold have done nothing to dissuade his downheartedness. Every teardrop is still a waterfall. "Life goes on, it gets so heavy," he sings in a torpid interlude on "Paradise," "the wheel breaks the butterfly, every tear, a waterfall, in the night, the stormy night, she closed her eyes."

 

This is maudlin crap. And guess what? Chris Martin doesn't give a flying fuck. He's a candy factory of melodies, and his heart is a suspended orb of caramelized goo. His veins run cold with treacle. And he's basically the richest piano player in the world.

 

Subjecting Coldplay's lyrics to Talmudic exegesis is breaking the butterfly upon a wheel, to borrow a lyric. Some bands use their music to start a polemic. Others prefer make a statement. Some are happy to pose a question. Coldplay, a band that closes every chord and writes lyrics that would embarrass a Girl Scout's diary, might have nothing to say. Well, nothing except: "And here's another pretty one." Are you okay with that? OK, then. Me too.

This article available online at:

 

http://www.theatlantic.com/entertainment/archive/2011/09/coldplays-paradise-the-new-single-from-the-great-guardians-of-treacle/244951/

 

Discuss!!!

[JackZ]

"How many friends does death have?" Wtf?

[JackZ]

DP :(

[Saket]

NME Review: http://www.nme.com/blog/index.php?blog=140&p=11097&title=coldplay_paradise_review&more=1&c=1

 

Coldplay, ‘Paradise’ – Review

 

It said something that the optimistic euphoria of Coldplay’s last single ‘Every Tear Drop Is A Waterfall’ was more palatable when it was covered by Robyn. The music-makes-it-all-better sentiment and the day glo rhythms felt slightly forced coming out of Chris Martin’s mouth, whereas there was an ease and conviction to the whole thing when Ms Carlsson was delivering the same lines.

 

‘Mylo Xyloto’ is set to reverberate with more pop sensibilities- Rihanna is to make an appearance on ‘Princess Of China’, so it’s no surprise that new single ‘Paradise’ takes the normal Coldplay model and gives it a chart-friendly make over.

 

There’s the dropped drum beat, the vaguely dubstep-like bassline and the "Para-para-paradise" hook of the chorus. This is all played over a New Age-ish sounding backing; strings, the familiar simple piano riff and, eventually, a choir who intone a "Woah-oh-oh-oh" line.

 

It’s hard to say what the band is aiming for with the song. To replicate he epic football stadium “moment” of ‘Yellow’? The energy of a ‘Viva La Vida’? If so it doesn’t quite work on either count.

 

‘Paradise’ feels both slightly listless and muddled. The “hip” new sonic treatments sound out of date (there's a mid-noughties vibe about the whole thing) and the chorus comes off as a weak facsimile of what Coldplay have done effortlessly in the past; specifically that people-uniting aspect.

 

Whilst Coldplay’s pop makeover may be - for them at least- quite revelatory, it feels like Chris Martin’s populist songwriting tendencies have been clipped. Ultimately it feels like a few steps back rather than forward.

 

Fans react on NME: http://www.nme.com/news/coldplay/59172 (ouch!)

[rainplay]

Lol

[rainplay]

dpppdp

[guda4siempre]

http://popcrush.com/coldplay-paradise/ so far the song has mixed reviews

 

 

Coldplay, ‘Paradise’ – Song Review

 

Coldplay once again aim for a stadium-sized sound and achieve it on ‘Paradise,’ the new single from their upcoming album ‘Mylo Xyloto.’

 

While many of Coldplay’s best songs are built around the voice of singer Chris Martin, ‘Paradise’ makes a lasting impression before Martin offers a single word.

 

The minute-long introduction builds with strings and keyboards before a slow, hypnotic beat enters the picture. Martin sings a third-person narrative about a girl whose life hasn’t measured up to her expectations: “When she was just a girl / She expected the world / But it flew away from her reach / So she ran away in her sleep.”

 

Martin references the band’s last single with the lines, “Life goes on, it gets so heavy / The wheel breaks the butterfly / Every tear, a waterfall / In the night, the stormy night / She closed her eyes,” before launching into an epic sing-along chorus, “She dreams of para, para, paradise.”

 

After a guitar solo, the song fades out with soft humming and a brief piano section, a nicely understated ending to a captivating song. ‘Mylo Xyloto’ arrives on Oct. 25.

 

[Mark]

Can't work out if they hate it or love it. It tends to over-analyse every little detail and doesn't make a conclusion on it. Not the best review I've read...

[Technicolor Liver]

It's actually "Dm, Bb, F, C" but okay. :blank:

[roche714]

I just came across an old review of Talk from 2005 and it sounds like it could be a review of Paradise.

 

It's so funny reading it,it says they sound like a boy band,Coldplay are playing it safe, and other things people are saying about Coldplay 2011..

 

Here's the review......

Oh, you know: waa waa waa, waa waa, waa waa waa waa. With a video in space. And a torch. And some guys that have, quite improbably, become global superstars; it's all a million light years from the first time these eyes focused upon their figures, swaying slowly in time with their perfectly accomplished but ultimately dull indie rock, back at the Manchester Roadhouse. They weren't even headlining.

 

What's changed, exactly? It's tough to call: 'Talk' is anthemic in all the traditional ways. It's tailor-made for the easily pleased to begin their lighter waving, and the way the guitar mimics the vocals - waa waa waa, et cetera - is pop songwriting at its best, albeit as original as a boyband key change. Chris Martin's vocals are certainly less impassioned than they have been, but they fit the fairly unambitious but pleasant enough music about them perfectly. 'Talk' is Coldplay in their safety zone, with no need to pull an ace from their sleeve. It's big-sounding, lavish in its production, and has a hook that'll infuriate Christmas shoppers from department store to department store. They know it'll sell, you know it'll sell: this review is entirely irrelevent.

 

Coldplay do have some fantastic songs to their name, songs that will always serve as solid evidence when their rise to the stars is investigated. This, though, is not one of them. "Tell me how you feel," _requests Martin. Quite bored, really. _"Let's talk," he suggests. Nah.

 

Coldplay

[neonhorn22]

Paradise is just meh, but what a self-important douche this guy is! hahahahaha!

[Jedi Leo]

Coldplay's 'Paradise' brings the drama over a slow-rolling beat

by Ed Masley - Sept. 12, 2011 12:50 PM

The Arizona Republic

 

Coldplay dropped a second single from their much-anticipated follow-up to 2008's "Viva La Vida or Death and All His Friends" on BBC Radio 1 on Monday, Sept. 12.

"Paradise" offers an exhilarating glimpse of where they may be headed on "Mylo Xyloto."

The song eases in on a bed of melancholy orchestration, sounding like the prelude to another aching Coldplay ballad. Then, the speaker-rattling low-end kicks in with the kind of slow-rolling, ominous club beat Drake's been favoring these day. The effect is as massive and melodramatic as anything in Coldplay's catalog but decidedly different. And this is all before Chris Martin starts to sing - at which point, the production pulls back from the grandeur to drums and piano as Martin sets the tone with "When she was just a girl, she expected the world. But it flew away from her reach so she ran away in her sleep and dreamed of para-para-paradise."

 

It's epic and contagious with a pretty melody and a sound that couldn't be more of the moment. Coming on the heels of "Every Teardrop Is a Waterfall," it suggests another multiplatinum triumph for one of the few British to consistently conquer the U.S. market this millennium.

[Jedi Leo]

Coldplay - "Paradise"

About.com Rating3.5 Star Rating

Be the first to write a review

By Bill Lamb, About.com Guide

 

 

Coldplay - "Paradise"

 

 

Even when Coldplay sound a bit like they are spinning their wheels musically, it can still have quite beautiful moments. The huge opening fanfare of "Paradise" is simply gorgeous. However, the rest of the song does not quite hold up. There are so many echoes here of other work by Coldplay that, just like the protagonist of the song longing for something better, we are left longing to hear other classic songs by the band.

 

Pros

 

Powerful instrumental opening

Chorus that will stick in the mind

Simple piano accompaniment to the verse

Cons

 

Does not stand out among the best of Coldplay's work

Description

 

Written by Guy Berryman, Jonny Buckland, Will Champion, and Chris Martin

Produced by Markus Dravs, Daniel Green and Rik Simpson

Released September 2011 by Parlophone

Guide Review - Coldplay - "Paradise"

 

Are Coldplay starting to run out of a bit of creative steam? There are many things that are quite beautiful in the arrangement here from the string flourishes to the huge, atmospheric fanfare in the instrumental opening and simple piano figures underlining Chris Martin's opening vocals. However, lyrically, there is little more than a woman dreaming of a different, better world. The song is so simple in effect that it lacks the impact of the band's best work.

 

Complaints aside, even this Coldplay song has some real power upon listening to it multiple times. The reference to a tear and a waterfall connects this song to the previous Mylo Xyloto single "Every Teardrop Is a Waterfall." That leaves us wondering about the overall structure of the upcoming album and if there will be more weaving amongst the songs to pull them into a cohesive whole. Ultimately you are also likely to break down and sing along with the "oh-oh-ohs" and "Para-para-paradise" of the chorus.

 

Coldplay's Mylo Xyloto album is clearly one of the most eagerly awaited of the fall. It is set for an October 24, 2011 release date. "Every Teardrop Is a Waterfall" hit the top 10 at adult pop, rock, and alternative songs radio. It has also been a top 10 hit around the world. However, a true smash hit single from the project has yet to be unveiled. "Paradise" is worth hearing, but ultimately will likely lead you back to previous stellar work by the band.

[Jedi Leo]

Coldplay - "Paradise"

About.com Rating3.5 Star Rating

Be the first to write a review

By Bill Lamb, About.com Guide

 

 

Coldplay - "Paradise"

 

 

Even when Coldplay sound a bit like they are spinning their wheels musically, it can still have quite beautiful moments. The huge opening fanfare of "Paradise" is simply gorgeous. However, the rest of the song does not quite hold up. There are so many echoes here of other work by Coldplay that, just like the protagonist of the song longing for something better, we are left longing to hear other classic songs by the band.

 

Pros

 

Powerful instrumental opening

Chorus that will stick in the mind

Simple piano accompaniment to the verse

Cons

 

Does not stand out among the best of Coldplay's work

Description

 

Written by Guy Berryman, Jonny Buckland, Will Champion, and Chris Martin

Produced by Markus Dravs, Daniel Green and Rik Simpson

Released September 2011 by Parlophone

Guide Review - Coldplay - "Paradise"

 

Are Coldplay starting to run out of a bit of creative steam? There are many things that are quite beautiful in the arrangement here from the string flourishes to the huge, atmospheric fanfare in the instrumental opening and simple piano figures underlining Chris Martin's opening vocals. However, lyrically, there is little more than a woman dreaming of a different, better world. The song is so simple in effect that it lacks the impact of the band's best work.

 

Complaints aside, even this Coldplay song has some real power upon listening to it multiple times. The reference to a tear and a waterfall connects this song to the previous Mylo Xyloto single "Every Teardrop Is a Waterfall." That leaves us wondering about the overall structure of the upcoming album and if there will be more weaving amongst the songs to pull them into a cohesive whole. Ultimately you are also likely to break down and sing along with the "oh-oh-ohs" and "Para-para-paradise" of the chorus.

 

Coldplay's Mylo Xyloto album is clearly one of the most eagerly awaited of the fall. It is set for an October 24, 2011 release date. "Every Teardrop Is a Waterfall" hit the top 10 at adult pop, rock, and alternative songs radio. It has also been a top 10 hit around the world. However, a true smash hit single from the project has yet to be unveiled. "Paradise" is worth hearing, but ultimately will likely lead you back to previous stellar work by the band.

[jus1986]

fot the german speaking fans!!!!

i found that article about paradise...

what they write is just disgusting... :angry::angry:

 

http://www.kleinezeitung.at/nachrichten/kultur/2831798/platten-denen-ohren-lassen-sollten.story

[jus1986]

for the german speaking fans!!!!

i found that article about paradise...

what they write is just disgusting... :angry::angry:

 

http://www.kleinezeitung.at/nachrichten/kultur/2831798/platten-denen-ohren-lassen-sollten.story

[Batman]

^ The KleineZeitung review is right in a few points, but only a few. The statements about Chris's voice and the other albums are crap in my opinion. Otherwise, that the new single is overproduced, lacks guitar parts and has dumb lyrics are rather true.

[Jedi Leo]

The german reviewer is clearly biased as he already starts by saying Coldplay are overrated..does not take a genius to guess how they are going to review Paradise then..

[busybeeburns]

Single Review: Coldplay - 'Paradise'

 

“The band as musicians are flawless, but it’s still no hard task to tell a Coldplay song from a U2 song or a Radiohead song”

 

3 STARS

 

Digital Release: September 12, 2011

Physical Release: September 12, 2011

 

The evolution of music is something that is as old as time, and so is the evolution of sound within a particular act. No music act should ever cling to the same rock when it comes to music or be in a position where they’re resting on the same credentials thirty years on from now (if they’re still lucky enough to be around), and neither should any act ever be content with staying on one rock for their entire career, so it therefore stands to reason that no act should ever shoe-horn themselves into a position where growth, maturity and musical exploration is impossible. Exploration of sound is imperative, if not for the continued interest or popular media then for the continued interest of their most loyal listeners.

 

Perhaps not noticeably, Coldplay’s progression from their MOR-rock beginnings spent dwelling in U2’s shadow have always been a step - or maybe a deliberately low-key shuffle - in the right direction, when you manage to ignore the fact that the album that should’ve followed the brilliant ‘A Rush Of Blood To The Head’ shouldn’t have been ‘X&Y’, until of course, U2 themselves strayed into MOR-rock territory. And possibly because of it’s high ambitions, buzz single ‘Every Teardrop Is A Waterfall’ got by because it didn’t so much clunk along in the same piano-led fashion Coldplay are renowned for - it had a charming gallop to it despite being their mostly easily digestible lyrical affair thus far, and added with it’s spacial freshness and faultless musicianship, it gave the impression that the band had learnt how to create an accompaniment which could home Chris Martin’s vocals at last, rather than making them sound like they put a downer on everything the band put their hands to.

 

Suffice to say a lot has been resting on the shoulders of the proper lead single ‘Paradise’, and on it’s opening you could be led to thinking Coldplay’s earlier learnings have gotten the better of them and already spoiled it, but the orchestral strings are simply one of many a nod to past Coldplay with nods to future Coldplay maintaining the balance. Not to say that the song is perfect: without pillaging too much to say it’s an outright influence, ‘Paradise’ boasts a thumping percussion loop and bass making an entrance like a wrecking ball backed up with high-flying strings, only to be removed when the whining echo of Gwyneth Paltrow’s beaux adds a pathos-less verse about a girl or something, before being joined once again by the post-apocalyptic verve. Once the song climaxes, Martin’s falsetto creates grandiose at a volume and pace that hasn’t ever been seen by the band before - they tried it on ‘Fix You’ (most of ‘X&Y’ in fact) and somewhat succeeded in terms of the song’s connotative value, but the unnecessarily depressing ordeal of having to actually listen to it can’t keep people awake long enough to be pissed off anymore.

 

That’s where ‘Paradise’ succeeds - it’s bold and dramatic with chilling harmonies and well-placed passing noise, proving that the band as musicians are flawless, but it’s still no hard task to tell a Coldplay song from a U2 song or a Radiohead song. Martin’s lyrics and his slow-paced delivery only really resolve to the listener’s forgiveness at one point - the chorus, and that only arrives half-way through and is only held together by a sequence of “Ohhh” chanting from the rest of the band.

 

http://unrealityshout.com/blogs/single-review-coldplay-paradise