Spanish Review - "El nuevo de Coldplay, canción a canción"

[Blockflote]

I find this review on twitter. It's in spanish, so maybe somebody can traslate it. It seems like the Q Magazine one, but a bit different.

http://jenesaispop.com/2011/10/14/mylo-xyloto-de-coldplay-cancion-a-cancion/

 

El nuevo de Coldplay, canción a canción

Por Sebas | 14 Oct 11, 17:28

 

Coldplay publican su quinto disco el próximo 25 de octubre. ‘Mylo Xyloto’, a pesar de su título exótico, de lo controvertido de su single con sample de ‘I Go To Rio’ (entendido en España como de ‘Ritmo de la noche’) y de la colaboración con Rihanna, es un álbum que deja poco lugar a la polémica. Contiene el suficiente continuismo como para agradar a los 8 millones de seguidores que compraron ‘Viva la Vida’ y la suficiente ambición como para contentar a la crítica. A lo largo de este “canción por canción” realizado tras una escucha exclusiva, encontrarás varias referencias a lo “ambiental”, lo “celestial” y casi lo “navideño” o “invernal”. Es por algo.

 

1.-’Mylo Xyloto‘: El primer corte que encontramos en el disco y el que le da título es una pieza instrumental de tan sólo 42 segundos con un protagonismo considerable de las percusiones y un toque navideño, palpable también en algunas de las pistas posteriores.

 

2.-’Hurts Like Heaven‘: La primera canción “de verdad” que encontramos en el nuevo álbum de Coldplay confirma el empeño del grupo por la creación de un muro de sonido de guitarras, percusiones y coros que en realidad dejan la voz de Chris Martin en un lugar casi anecdótico. Hay una parte muy pegadiza en la que Martin canta “so cold, so cold” (que no es el estribillo), pero está claro que la prioridad de la banda es la creación de texturas a partir de guitarras muy The Edge y de la potente base rítmica, que ya ha hecho del tema un habitual de su repertorio.

 

3.-’Paradise‘: Single actual y ya conocido por todos, comienza con un fondo muy eclesiástico que enseguida incorpora cuerdas y pianos. Muy ambiental y relativamente pegadizo, es un single correcto que, no obstante, no termina de revelar lo celestial de gran parte de la producción de Coldplay en este disco. Entendida como la parte de un todo, es la carta de presentación perfecta, bastante más que ‘Every Teardrop Is A Waterfall’.

 

4.-’Charlie Brown‘: Con un ritmo parecido a ‘Viva La Vida’, la canción, ‘Charlie Brown’ se perfila como algo más que un posible single. Tiene elementos en común pero no su hipnótica secuencia de cuerdas y coros, por lo que puede destacar por sí misma. Incluye de nuevo cierta ambición ambiental, y un final más delicado.

 

5.-’Us Against The World‘: Chris Martin canta la primera estrofa sobre una guitarra acústica. Supone en ese sentido un contrapunto con respecto a las anteriores pistas y muestra a mis Coldplay favoritos, los más relajados, los de ‘Don’t Panic’. Sin embargo, después emergen coros y otros instrumentos que dan cuerpo a la canción pero siempre sin recargar. Es fascinante cómo Coldplay pueden incluir tantos elementos en estas canciones sin que el resultado sea especialmente grandilocuente y repelente. En esta pista optan por terminar “en pequeño”, en calma, con ellos luchando contra el mundo después de varios trucos minimalistas, sonoros y líricos, referencias religiosas incluidas. Tras una escucha, una de mis favoritas del disco, aunque sólo sea por el espacio clave que ocupa en el tracklist.

 

6.-’MMIX‘: Transición de menos de un minuto, ahora recordando la inquietud de Kraftwerk por rescatar los sonidos industriales y mecánicos, aunque aquí a partir de instrumentos orgánicos.

 

7.-’Every Teardrop Is A Waterfall‘: El riesgo de haber sampleado el ‘I Go To Rio’ ha salido medio bien al final a Coldplay, logrando un pequeño éxito internacional aunque no comparable al de ‘Viva La Vida’. En España seguimos obsesionados con el ‘Ritmo de la noche’ cada vez que lo escuchamos, algo que sería diferente si el tema no arrancara con los teclados. Para muchos será un bajón y desde luego está muy lejos de ser la mejor canción del álbum, pero no llega a desencajar y ocupa un lugar discreto y por lo tanto correcto en el tracklist. En resumen, no emociona como ellos quisieran pero tampoco estorba.

 

8.-’Major Minus‘: Sigue a ‘Every Teardrop’ su cara B, que arranca con un aire bastante western para luego incorporar guitarras eléctricas y unos “uuuh-uuuh” demasiado pegadizos como para quedar reducidos a anécdota en un single de 7 pulgadas de edición limitada. Lo americano va cediendo terreno a otros estilos a medida que avanza el tema y el final explosivo, incorporando un fondo más denso, confirma que puede ser una favorita de los conciertos.

 

9.-’U.F.O.‘: No es, a pesar de su título, la canción más marciana del disco. Como en ‘Us Against The World’, destaca la presencia de la guitarra acústica, hasta el punto de que volvemos a oír el cambio de acordes en directo acompañando a la dulce voz de Chris Martin. Es cortísima y se hace más. Posiblemente una pequeña favorita para los fans.

 

10.-’Princess of China‘: La esperada colaboración con Rihanna empieza con unos sintetizadores detrás de los que cualquier cosa podría suceder: ¿un hip-hop a lo el amigo Jay-Z? ¿un tema marca de la casa? ‘Princess of China’ es un medio tiempo de corte electrónico en el que Martin primero canta en solitario dejando paso después a la intérprete de ‘Umbrella’, que aparece bien en solitario o bien cantando al mismo tiempo que él. No es una rara avis en el disco. A medida que avanza, ‘Princess of China’ se va transformando en una canción 100% Coldplay, donde la electrónica termina resultando una anécdota. Hay una parte muy pegadiza con bien de coros “ooooh ooooh”. ¿Será un single? Contiene un sample de ‘Takk’ de Sigur Rós.

 

11.-’Up In Flames‘: Si antes hablaba de Navidad, esta canción sería lo que encontramos después: el invierno más sombrío. ‘Up In Flames’ es una de las canciones más sorprendentes de este disco, con una base tristona, machacona y repetitiva que hace sonar los primeros momentos de la canción turbios y decadentes. Hasta cabría citar cierta reminiscencia trip-hop de los Portishead de ‘Undenied’. Después se añade un piano bastante limpio junto a la voz de Coldplay, las cuerdas, las guitarras… y de nuevo la base queda en anécdota, como sucedía con el tema inmediatamente anterior. Es loable que Coldplay consigan incorporar las programaciones electrónicas con esta naturalidad, sin espantar a sus seguidores más conservadores, lejos de los efectismos y disfraces de los U2 de ‘Pop’ (que ojo, también tenían su aquel). Seguro que Brian Eno, que aparece en este disco como co-autor hasta de los cortes de transición, tiene algo que ver. Quizá la canción se haga algo corta, evidenciando que es más una idea para el futuro que un single.

 

12.-’A Hopeful Transmission‘: Nuevo intermedio, esta vez de 30 segundos, y hecho casi sólo para que la siguiente pista destaque todavía más.

 

13.-’Don’t Let It Break Your Heart‘: Cuando empezabas a pensar que Coldplay habían reservado el final de ‘Mylo Xyloto’ para caprichos y rarezas o para canciones más reflexivas y lentas, aparece esta contundente canción de título épico que sentencia. Es una de las que guarda más fuerza y podría ser un excelente quinto single. Muy uptempo, hace buen uso de la conjunción de cuerdas y programaciones. Termina, como tantas, en los cielos, con un elemento que se expande durante los primeros 30 segundos de la pista siguiente.

 

14.-’Up With The Birds‘: Mientras suenan esos restos de ‘Don’t Let It Break Your Heart’, se introduce el sonido de un piano mientras Chris Martin habla de lo difícil que es marcharse. Emergen unos coros cortos pero celestiales que nos hacen pensar que Coldplay cerrarán su disco casi en silencio, pero el tema sufre un cambio radical hacia la mitad incorporando guitarras y una potente batería… aunque al final, hay vuelta a la calma. Contiene un sample de ‘Anthem’ de Leonard Cohen y otro de ‘Driven By You’ de Brian May.

[Cleggy]

Google translate is crap for long pieces of text like this, is there a native Spanish speaker somewhere that can translate it into English for us? I'm sure we'd all greatly appreciate it.

[Blockflote]

There's a translate (thanks to Nature). I don't know if it's good.

 

Coldplay released their fifth album on 25 October. 'Mylo Xyloto', despite its exotic title of the controversial nature of their sample of single with 'I Go To Rio "(understood in Spain and' Rhythm of the night ') and working with Rihanna, is an album that leaves little room for controversy. Contains sufficient continuity as pleasing to the 8 million fans who bought 'Viva la Vida' and enough ambition to please the critics. Throughout this "song by song" exclusively made after listening, you will find several references to the "environment", the "heavenly" and almost "Christmas" or "winter". It's about something.

 

1 .- 'Mylo Xyloto': The first cut we find in the record and the title gives an instrumental of only 42 seconds with a considerable role of percussion and a touch of Christmas, also palpable in some of the tracks later.

 

2 .- 'Hurts Like Heaven': The first song "truth" found in the new Coldplay album confirms the commitment of the group by creating a wall of sound guitars, percussion and vocals that actually let the voice of Chris Martin in an almost anecdotal. There is a very catchy in which Martin sings "so cold, so cold" (which is not the chorus), but it is clear that the priority of the band is creating textures from The Edge guitars and the Powerful rhythmic base, which has made a regular subject of his repertoire.

 

3 .- 'Paradise': Single current and known to all, begins with an ecclesiastical background very quickly incorporates strings and pianos. Very ambient and relatively catchy, is a single right that, however, did not reveal the heavenly finish much of the production of Coldplay in the album. Understood as part of a whole, the letter is perfect, far more than 'Every Teardrop Is A Waterfall'.

 

4 .- 'Charlie Brown': With a rate similar to 'Viva La Vida', the song, 'Charlie Brown' is seen as more than a possible single. It has elements in common but not hypnotic sequence of strings and choirs, so you can highlight in itself. Includes back certain environmental ambition, and a more delicate final.

 

5 .- 'Us Against The World': Chris Martin sings the first stanza on an acoustic guitar. It involves a counterpoint to that effect with respect to the previous tracks and shows Coldplay my favorites, more relaxed, those of 'Do not Panic'. However, after emerging choirs and other instruments that embody the song but always without charge. Coldplay is fascinating how many elements can be included in these songs without the result is particularly grand and insect repellent. On this track they choose to end "small," quiet, with them fighting the world after several tricks minimalist sound and lyrical, religious references included. After listening, one of my favorite album, if only for key space it occupies in the tracklist.

 

6 .- 'MMIX': Transition from less than a minute, now recalling Kraftwerk's concern to rescue the industrial and mechanical sounds, but here from organic instruments.

 

7 .- 'Every Teardrop Is A Waterfall': The risk of having sampled the 'I Go To Rio' has gone well in the end half Coldplay, achieving international success a little but not comparable to 'Viva La Vida'. In Spain we obsessed with the 'Rhythm of the night' every time I hear something that would be different if the subject does not start with keyboards. For many it will be a downturn and certainly is far from being the best song on the album, but does not disengage and occupies a discreet and therefore correct in the tracklist. In summary, excited as they wish but not cluttered.

 

8 .- 'Major Minus': Follow 'Every Teardrop' face B, which starts with a very western air for electric guitars and then incorporate some "oooh oooh," too catchy to be reduced to a single anecdote of 7 inch limited edition. The U.S. is losing ground to other styles as you progress the issue and the explosive finale, incorporating a denser background, confirms that it can be a concert favorite.

 

9 .- 'UFO': It is not, despite its title, the song of the Martian disk. As in "Us Against The World ', highlights the presence of acoustic guitar, to the point that we hear the chord change accompanying live the sweet voice of Chris Martin. It is very short and more. Possibly a small favorite for fans.

 

10 .- 'Princess of China': The long-awaited collaboration with Rihanna starts with a synth behind anything could happen: a hip-hop to Jay-Z's friend? A house brand item? 'Princess of China' is an electronic cutting time in which Martin sings solo first step after leaving the interpreter of 'Umbrella', which appears either alone or singing at the same time as him. It is a rare bird on the disk. As you go, 'Princess of China' is transformed into a 100% Coldplay song, where the electronics ultimately lead to an anecdote. There is a very catchy chorus with either "ooooh ooooh." Is it a single? Contains a sample of 'Takk' by Sigur Rós.

 

11 .- 'Up In Flames': Where before he Christmas, this song would be what we are after: the bleak winter. 'Up In Flames' is one of the most striking songs on this album, with a base sad, tiresome and repetitive sounds the first moments of the track muddy and decaying. Until reminiscence could include trip-hop of Portishead of 'Undenied'. Then add a pretty clean piano with Coldplay's voice, strings, guitars ... and again is based on anecdote, as with the preceding topic. Coldplay is laudable that incorporate electronic programming achieve this naturally, without scaring his more conservative, far from effective and costumes of the U2 of 'Pop' (that eye, also had their one). Sure Brian Eno, who appears in this record as co-author of the cuts to Transition, has something to do. Perhaps the song will do something short, showing that it is more an idea for a future single.

 

12 .- 'A Hopeful Transmission': New intermediate, this time from 30 seconds, and made almost exclusively for the next track stand out even more.

 

13 .- "Do not Let It Break Your Heart ': When you started to think that Coldplay had booked the end of' Mylo Xyloto 'to whims and oddities or more reflective songs and slow, see this compelling epic title song sentence . It is one that holds more power and could be an excellent fifth single. Very uptempo, makes good use of the combination of strings and schedules. It ends, like so many in the heavens, with an element that expands during the first 30 seconds of the track.

 

14 .- 'Up With The Birds': While these remains sound of 'Do not Let It Break Your Heart', introduces the sound of a piano while Chris Martin talks about how difficult it is to leave. Emergen short but heavenly choirs that make us think that Coldplay will close its disc almost in silence, but the subject undergoes a radical change in the middle incorporating guitars and a powerful battery ... but in the end, cool down there. Contains a sample of 'Anthem' by Leonard Cohen and one of 'Driven By You' by Brian May.

[Nature]

You dont have to thank me :D

[Miha]

Three new samples then eh? :)

[Cleggy]

That's just copied and pasted from Google Translate. It doesn't really make sense. It's interesting to see that they mention a sample from Sigur Ros in Princess of China and a sample from Brian May and Leonard Cohen in Up With The Birds. Whatever happened to making their own music?

[Brent]

The english translation is dookie.

[Abracadabra]

Que? :huh2::huh2:

[DavidB5]

That didn't make much sense, but this: "'UFO': It is not, despite its title, the song of the Martian disk." made me laugh til I cried. The sample references are, as far as I know, unfounded except for Allen & Anderson on ETIAW and Cohen on UWTB. I am going to do some research on those songs and figure out if the additional ones are correct. Do not panic.:laugh3:

[gcjuan]

I'm translating it

[Prospector]

Gracias!

[Mrguidogenio]

Great review (yeah, native spanish here).

[jcoldplay]

y jensaispop es como el pitchfork español :O

[thomas.paul]

Muy bueno! cada vez me dan más ganas de escucharlo! 10 dias para MX :D

[Ronayne94]

"Contains a sample of 'Takk' by Sigur Rós"

 

:dazzled::dazzled::dazzled::dazzled::dazzled:

[Crests]

"Coldplay is fascinating how many elements can be included in these songs without the result is particularly grand and insect repellent"

 

 

xD

[Juanma]

3 samples :sad:

 

awesome awesome review!

[Arantza]

Here is the translation. It's not perfect since there are some phrases that we don't use here, and other words that I didn't know how to translate. But at least it's better than the google-translate one :P

 

 

The latest from Coldplay, track by track.

Coldplay will publish their fifth album on october 25th. ‘Mylo Xyloto’, even with it’s exotic title, it’s controversial single with a sample of “I Go To Rio” (known in Spain as ‘Ritmo De La Noche’), and the collaboration with Rihanna, it’s an album that leaves very little space for polemic. It has the sufficient continuity to be liked by the 8 million fans that bought “Viva La Vida” and the sufficient ambition to please the critics. During this “track by track” made after an exclusive hearing, you will find several references to the “ambient ”, the “celestial” and almost the “christmassy” or the “winter”. It’s because of something.

 

1.- ‘Mylo Xyloto’: The fist cut we find on the album and the one that gives it the title is an instrumental piece of just 42 seconds with considerable leadership of the percussion and a Christmassy touch, that can be found in some of the later songs.

 

2.- ‘Hurts Like Heaven’: The first “real” song that we find in the new Coldplay album confirms the determination of the band to create a wall of sound created by guitars, percussions and chorus that leave Chris Martin’s voice in almost an anecdotal place. There is a catchy part in which Martin sings “so cold, so cold” (that is not the chorus), but it is clear that the priority of the band is the creation of textures coming from guitars very The Edge-y and a potent rhythmic base, it has already been a regular in their set.

 

3.- ‘Paradise’: Current single already known by everyone, it stars with a very ecclesiastic background that is soon incorporated by stings and piano. Very environmental and relatively catchy, is a good single, however, it doesn’t show celestial of big part of the production of Coldplay in this album. As a part of a whole, it is the perfect presentation card, even better than ‘Every Teardrop Is A Waterfall’.

 

4.- ‘Charlie Brown’: With a rhythm more like ‘Viva La Vida’, the song, ‘Charlie Brown’ is something more than a possible single. It has elements in common but not its hypnotic sequence of strings and chorus, therefore it can stand out by itself. Includes a certain ambient ambition, and a more delicate ending.

 

5.- ‘Us Against The Wold’: Chris Martin sings the first verse with an acoustic guitar. With that it is a counterpoint with regard to the previous tracks and it shows my favourite Coldplay, the more relaxed one, the ‘Don’t Panic’ one. However, choruses and other instruments join to give body to the song but without loading it too much. It’s fascinating how Coldplay can include so many elements in these songs without making the result bombastic or repellent. This track ends “in small”, in peace, with them fighting against the world after several minimalistic, sonorous and lyrical tricks, with some religious references included. After listening to it, one of my favourites of the album, even if it’s only because the key place it has on the tracklist.

 

6.- ‘MMIX’: Transition of less than a minute, now remembering the restlessness of Kraftwerk to rescue the industrial and mechanic sound, although here it’s from organic instruments.

 

7.- ‘Every Teardrop Is A Waterfall’ : the risk of sampling ‘I Go To Rio’ came out somewhat right at the end for Coldplay, achieving a small international success although not comparable with ‘Viva La Vida’. In Spain we are still obsessed with ‘Ritmo De La Noche’ every-time we hear it, something that would have been different if the song didn’t start with the keyboards. To many, it will be down point and of course, it’s far from being the best song in the album, but it fits and has a discrete place therefore a right place in the tracklist. In summary, it’s not as exciting as they would like to but it doesn’t hinder.

 

8.- ‘Major Minus’: It follows ‘Every Teardrop Is A Waterfall as its B-side, it starts with a very western air and then is followed by electric guitars and some very catchy “uuuh-uuuh” to be forgotten in a 7-inch limited edition single. The american things recede and give space to other styles as the track advances and the explosive final, incorporated with a denser background, confirms that it can be a favourite in the concerts.

 

9.- ‘U.F.O.’: It’s not, despite its title, the strangest song in the album. As ‘Us Against The World’, the presence of the acoustic guitar stands out, to the point where we can hear the change of chords accompanied by the sweet voice of Martin. It’s short but it seems even shorter. Probably a small favourite for the fans.

 

10.- ‘Princess Of China’: The awaited collaboration with Rihanna stars with some synthesizers, and behind them anything can happen: a Jay-Z style hip-hop? A house brand song? ‘Princess Of China’ is a half-time electronic cut where Martin sings first and then leaves space to the performer of ‘Umbrella’, that appears singing alone or at the same time as him. It’s not a rara avis (uncommon/unusual) in the album. As the songs progresses, ‘Princess Of Chine’ is transformed into a 100% Coldplay song, where the electronic ends as an anecdote. There is a very catchy part with “ooooh ooooh”. Will it be a single? It has a sample of ‘Takk’ by Sigur Rós.

 

11.- ‘Up In The Flames’: If we were talking about Christmas before, this song would be what we find next: a darker winter. ‘Up In the Flames’ is one of the most surprising songs in this album, with a sad base and repetitious, it makes the song sound at the beginning turbid and decaying. You could even say you can recall some trip-hop from Portishead’s ‘Undenied’. After that, a very clean piano is added with the voice of Coldplay, the strings, the guitars… and once again the base remains as an anecdote, like in the previous song. It is laudable that Coldplay can add these electronic programmes with naturality, without scaring their more conservative followers, far from the sensationalism and costumes from U2’s ‘Pop’. It’s sure that Brian Eno, who appears in this album as a co-author even in the transition cuts, has something to do with it. Maybe you find that the song is somewhat short, giving more evidence that it’s more than an idea for a single.

 

12.- ‘A Hopeful Transmission’: New intermezzo, this time of 30 seconds, and made just for the next song to stand out.

 

13.- ‘Don’t Let It Break Your Heart’: When you started to think that Coldplay left the ending of the album to their caprices and rarities or to more reflexive and slow songs, this overwhelming song appears with an epic title that condemns. It’s one of the songs that has a lot of strength and could be an excellent 5th single. Very uptempo, it makes a good use of the conjunction of stings and programmes. It ends, as many, in the skies, with an element that expands itself during the first 30 seconds of the next song.

 

14.- ‘Up With The Birds’: While the rest of ‘Don’t Let It Break Your Heart’ sounds, the sound of a piano with Chris Martin talking about how hard it’s to leave is added. Some short but celestial chorus emerge and they make us think that the album is going to end almost in silence, but the song suffers a radical change at the middle adding guitars and powerful drums… but at the end, there is calm again. It contains a sample of ‘Anthem’ by Leonard Cohen and another one from ‘Driven By You’ by Brian May.

 

 

[basstialbo]

para los de lengua hispana :

no creo que sea tan sample todo, creo que sólo ha de encontrarlo parecido ( espero eso )

english :

I dont think that is so sample in everything, I think he just has to find similar (hope for this)

[juanif94]

gracias! :D