October 1, 20241 yr Were there any rock type songs like People of the Pride? Is it more mellow than MotS? Is Moon Music very AROBTTH-esque like someone mentioned?
October 1, 20241 yr 5 hours ago, the_escapist said: This is very interesting. Could you develop a bit more on why you think they are drifting apart musically? Thank you! English is not my native language, but I'll try to detail my perspective of "Oldplayer." I'd like to emphasize that all of this is my personal reflection, that these are just assumptions, and some aspects are probably wrong because I'm not close to the band. First of all, I was struck by seeing G, J, and W interviewed together in the stadium while Chris was in a more personal setting. It’s as if these three guys are there just to do the job in the stadiums; there are plenty of little things that suggest this, for example, Guy explaining that at Glasto, he arrived just before the concert and left as soon as it ended. I think this applies to J and W as well, but G is much more outspoken about these things. Speaking of G, his passions (fashion, art, and cars) seem to be taking more and more of his time. As proof, we have his move to Amsterdam to be closer to AAF and the dutch art scene. As for J and W, it’s much harder to pin down. They're very reserved; we don't really know what they do in their free time, but I think they spend a lot of it with their families and are less involved in external things. Honestly, I don't feel they are as engaged with the band as they were during the VLV or MX periods, for example. Chris is living in Los Angeles, the capital of contemporary art, the global hub of entertainment and where celebrities live. He's involved in art, his artistic passion is still very much alive, and he seems to devour music. He's a passionate person, a top-level artist, and he's probably now surrounded by people who have developed the same sense as him. I’m also thinking about the sale of "The Bakery," which is quite symbolic and confirms what we’ve noticed since Chris’s move to Los Angeles, and especially since EL: they work remotely via Facetime. Chris seems to build and shape things with team members living in LA (Bill Rahko, Phil, Max Martin, Jacob Collier). Chris is an artist, but he’s very involved to the point of having developed a sense of entrepreneurship. He has built a very large network of people related to the artistic industry, and nothing is left to chance. Finally, the band travels in studios to finalize things. In other words, I think they've lost that "London band connection". For "Moon Music," it feels a bit different. It's an album that seems to have been built during the MOTS tour. Everyone is involved a bit more, even if time is limited, and I remain convinced that this tour, with its gigantic scale, symbolizes the end of something. Chris seems emotional at every concert, the rest of the band appears grateful, but everything feels massive/industrial like the residence at London in 2025 (They say it's for ecological reasons, but let's be honest, that's not the only reason: it's to reduce the tour's costs, especially since they had to write a multi-million check to Dave Holmes to settle the dispute. But we can assume that this profit optimization is also to build a financial cushion to face the upcoming inactive years). These recent interviews with NME and Apple Music strengthen my feeling: it’s serious. I mean, the band gets along wonderfully; they're not on the brink of a split, but they probably feel they've reached the end of the creative mechanism, and the physical distance that has grown between them has only reinforced their emotional distance. They’ve explored so much, and let’s be honest, the MOTS period feels like a huge evolution from the AHFOD period, whereas VIVA, MX, AHFOD, and all the other albums were real shifts. EL is in a class of its own. I don't believe in solo careers: W, J, and G seem to be perfectly comfortable with this “intermittent” lifestyle that comes with numerous benefits. The only one who might have ventured off to do musical things on his own is G, as he did with Apparatjik, but he's moved on to other, less musical hobbies. Chris is different. I think he’ll be more involved with other artists in terms of composition and production. In short, he’ll step into the invisible side while remaining very influential. He won't just sit still—he's hyperactive, and music is his oxygen. As for these last two albums, I see it this way: Chris will be heavily involved in the musical theater project, while the rest of the band will be less so. And for the 12th album, I see it more as a retrospective with a lot of material that’s been stored away (and we know there’s a lot of it). In the end, it's just the logical path any long-lasting band follows: they start indie, rise very strongly, and develop a sense of entrepreneurship until they reach the peak of success, which comes with a certain bourgeois lifestyle and other desires. I can't help but think of U2's story. Edited October 1, 20241 yr by thomasPh
October 1, 20241 yr Here's a review extracted from Coldplay's forum in reddit "Absolutely! Here are my thoughts from one listen (caveat that I heard this over a speaker in a bar so these would not be my final ratings by any means). I would say that this album is similar to the best parts of MOTS. It won't be their number 1 or 2 album, but is absolutely a step up from MOTS and fits in their discography. 1. Moon Music: 3 parts. The instrumental we heard at Glastonbury and the preview they released. It shifts into a piano instrumental that has similarities to Coloratrura. Chris sings at the end before it goes into the electronic feelslikeimfallinginlove intro. 9/10 2. Feelslikeimfallinginlove: First single. 6/10 3. We Pray: Again something we've all heard. 5/10. 4. Jupiter: This is an acoustic pop song where Chris sings a lot in falsetto (about "love who you love" 7/10. 5. Good Feelings: Obviously this is played at concerts but it feels like a better My Universe. Absolute bop although I think it's taken down by having a feature (nothing against the singer however. She's talanted). I'm shocked they didn't choose it as their summer single. It should be the pop radio smash of the album. 7.5/10. 6. 🌈 I didn't get to hear this well over the crowd noise so I can't rate. 7. iAAM. The most classic sounding Coldplay song (2007-2014 Coldplay) of the album. 7.5/10. 8. Aeterna. Similar to the concert version where Chris' voice is autotuned. 6.5/10. 9.All My Love: Another classic sounding Coldplay song. Johnny's guitar does come through at the end. 8/10. 10. One World. This is a very long ballad to close the album. 7/10." Edited October 1, 20241 yr by huevos con pan
October 1, 20241 yr 2 minutes ago, huevos con pan said: Here's a review extracted from Coldplay's forum in reddit "Absolutely! Here are my thoughts from one listen (caveat that I heard this over a speaker in a bar so these would not be my final ratings by any means). I would say that this album is similar to the best parts of MOTS. It won't be their number 1 or 2 album, but is absolutely a step up from MOTS and fits in their discography. 1. Moon Music: 3 parts. The instrumental we heard at Glastonbury and the preview they released. It shifts into a piano instrumental that has similarities to Coloratrura. Chris sings at the end before it goes into the electronic feelslikeimfallinginlove intro. 9/10 2. Feelslikeimfallinginlove: First single. 6/10 3. We Pray: Again something we've all heard. 5/10. 4. Jupiter: This is an acoustic pop song where Chris sings a lot in falsetto (about "love who you love" 7/10. 5. Good Feelings: Obviously this is played at concerts but it feels like a better My Universe. Absolute bop although I think it's taken down by having a feature (nothing against the singer however. She's talanted). I'm shocked they didn't choose it as their summer single. It should be the pop radio smash of the album. 7.5/10. 6. 🌈 I didn't get to hear this well over the crowd noise so I can't rate. 7. iAAM. The most classic sounding Coldplay song (2007-2014 Coldplay) of the album. 7.5/10. 8. Aeterna. Similar to the concert version where Chris' voice is autotuned. 6.5/10. 9.All My Love: Another classic sounding Coldplay song. Johnny's guitar does come through at the end. 8/10. 10. One World. This is a very long ballad to close the album. 7/10." This is a more level rating system than a lot of others I've spoken to who has said One World has a amazing crescendo
October 1, 20241 yr Glad to hear that it's sounding better than MotS. That was my biggest worry - that they'll continue the 'disjointed-ness' of MotS into MM. But it sounds like it's more cohesive.
October 1, 20241 yr Feel lucky to have heard it. Agree that it's the best since MX but excluding EL in my mind. One World made me tear up a little at the end. It really is incredible what Coldplay can do with Brian Eno, I swear. It's one of the most beautiful songs they've written, for sure. The others were great as well. Out of the songs I hadn't heard all of (this excludes FLIFIL, We Pray and iAAM is rank them as One World Moon Music Alien Hits (first part) All My Love Aeterna Good Feelings Alien Radio (second parts) Jupiter Now to drive home. Edited October 1, 20241 yr by HowCouldIForget
October 1, 20241 yr Also what makes One World so long compared to the live version? Is it an extended string section or is there another section which wasn’t performed live?
October 2, 20241 yr 52 minutes ago, Famous Old Painter said: What makes the first part of AHAR better than the second? Neon Forest
October 2, 20241 yr I like the instrumentation better. Also second part has a little bit of Wills vocals but I can’t understand what he’s saying at all. It comes off unusual for Coldplay (at least to me) and I think it’ll take more to digest with a few listens. I only heard it once, of course. For One World, there’s silence for about a minute (we clapped not realizing it wasnt over) and then more lalalalas at the end in what sounds like an older style. Reminds me of 60s/70s a little bit. I wonder if that’s a sign of things to come. 🙂 That would be interesting. That’s just my take. Chris loves the lalas on this album for sure. It’s not gonna blow people away lyrically but the music is excellent for the most part. Even Jupiter, which comes off pretty cheesy (though I do agree LGBT rights are important) lyrically, I like the acoustic guitar a lot. One added thing, the violin part from FFTF on Apple Music sounds like it’s from One World near the middle section. Edited October 2, 20241 yr by HowCouldIForget
October 2, 20241 yr 4 hours ago, thomasPh said: English is not my native language, but I'll try to detail my perspective of "Oldplayer." I'd like to emphasize that all of this is my personal reflection, that these are just assumptions, and some aspects are probably wrong because I'm not close to the band. First of all, I was struck by seeing G, J, and W interviewed together in the stadium while Chris was in a more personal setting. It’s as if these three guys are there just to do the job in the stadiums; there are plenty of little things that suggest this, for example, Guy explaining that at Glasto, he arrived just before the concert and left as soon as it ended. I think this applies to J and W as well, but G is much more outspoken about these things. Speaking of G, his passions (fashion, art, and cars) seem to be taking more and more of his time. As proof, we have his move to Amsterdam to be closer to AAF and the dutch art scene. As for J and W, it’s much harder to pin down. They're very reserved; we don't really know what they do in their free time, but I think they spend a lot of it with their families and are less involved in external things. Honestly, I don't feel they are as engaged with the band as they were during the VLV or MX periods, for example. Chris is living in Los Angeles, the capital of contemporary art, the global hub of entertainment and where celebrities live. He's involved in art, his artistic passion is still very much alive, and he seems to devour music. He's a passionate person, a top-level artist, and he's probably now surrounded by people who have developed the same sense as him. I’m also thinking about the sale of "The Bakery," which is quite symbolic and confirms what we’ve noticed since Chris’s move to Los Angeles, and especially since EL: they work remotely via Facetime. Chris seems to build and shape things with team members living in LA (Bill Rahko, Phil, Max Martin, Jacob Collier). Chris is an artist, but he’s very involved to the point of having developed a sense of entrepreneurship. He has built a very large network of people related to the artistic industry, and nothing is left to chance. Finally, the band travels in studios to finalize things. In other words, I think they've lost that "London band connection". For "Moon Music," it feels a bit different. It's an album that seems to have been built during the MOTS tour. Everyone is involved a bit more, even if time is limited, and I remain convinced that this tour, with its gigantic scale, symbolizes the end of something. Chris seems emotional at every concert, the rest of the band appears grateful, but everything feels massive/industrial like the residence at London in 2025 (They say it's for ecological reasons, but let's be honest, that's not the only reason: it's to reduce the tour's costs, especially since they had to write a multi-million check to Dave Holmes to settle the dispute. But we can assume that this profit optimization is also to build a financial cushion to face the upcoming inactive years). These recent interviews with NME and Apple Music strengthen my feeling: it’s serious. I mean, the band gets along wonderfully; they're not on the brink of a split, but they probably feel they've reached the end of the creative mechanism, and the physical distance that has grown between them has only reinforced their emotional distance. They’ve explored so much, and let’s be honest, the MOTS period feels like a huge evolution from the AHFOD period, whereas VIVA, MX, AHFOD, and all the other albums were real shifts. EL is in a class of its own. I don't believe in solo careers: W, J, and G seem to be perfectly comfortable with this “intermittent” lifestyle that comes with numerous benefits. The only one who might have ventured off to do musical things on his own is G, as he did with Apparatjik, but he's moved on to other, less musical hobbies. Chris is different. I think he’ll be more involved with other artists in terms of composition and production. In short, he’ll step into the invisible side while remaining very influential. He won't just sit still—he's hyperactive, and music is his oxygen. As for these last two albums, I see it this way: Chris will be heavily involved in the musical theater project, while the rest of the band will be less so. And for the 12th album, I see it more as a retrospective with a lot of material that’s been stored away (and we know there’s a lot of it). In the end, it's just the logical path any long-lasting band follows: they start indie, rise very strongly, and develop a sense of entrepreneurship until they reach the peak of success, which comes with a certain bourgeois lifestyle and other desires. I can't help but think of U2's story. Just to correct you a bit on the studio thing: The Bakery was never theirs according to Phil, they just rented it. Also, the band still have The Beehive and refurbished it recently.
October 2, 20241 yr One thing to have in mind about Coldplay is that they have worked A LOT in the past two decades. I'm the one who compiled their live performances list on Wikipedia and it's just insane how many gigs were carried out along the way, good for them to finally take some time to rest. Edited October 2, 20241 yr by gustavothehuman
October 2, 20241 yr For those who have heard the album, is it actually confirmed the vegas song isn't on it? I'm so bummed it sounded like the most beautiful song...
October 2, 20241 yr 5 hours ago, thomasPh said: English is not my native language, but I'll try to detail my perspective of "Oldplayer." I'd like to emphasize that all of this is my personal reflection, that these are just assumptions, and some aspects are probably wrong because I'm not close to the band. First of all, I was struck by seeing G, J, and W interviewed together in the stadium while Chris was in a more personal setting. It’s as if these three guys are there just to do the job in the stadiums; there are plenty of little things that suggest this, for example, Guy explaining that at Glasto, he arrived just before the concert and left as soon as it ended. I think this applies to J and W as well, but G is much more outspoken about these things. Speaking of G, his passions (fashion, art, and cars) seem to be taking more and more of his time. As proof, we have his move to Amsterdam to be closer to AAF and the dutch art scene. As for J and W, it’s much harder to pin down. They're very reserved; we don't really know what they do in their free time, but I think they spend a lot of it with their families and are less involved in external things. Honestly, I don't feel they are as engaged with the band as they were during the VLV or MX periods, for example. Chris is living in Los Angeles, the capital of contemporary art, the global hub of entertainment and where celebrities live. He's involved in art, his artistic passion is still very much alive, and he seems to devour music. He's a passionate person, a top-level artist, and he's probably now surrounded by people who have developed the same sense as him. I’m also thinking about the sale of "The Bakery," which is quite symbolic and confirms what we’ve noticed since Chris’s move to Los Angeles, and especially since EL: they work remotely via Facetime. Chris seems to build and shape things with team members living in LA (Bill Rahko, Phil, Max Martin, Jacob Collier). Chris is an artist, but he’s very involved to the point of having developed a sense of entrepreneurship. He has built a very large network of people related to the artistic industry, and nothing is left to chance. Finally, the band travels in studios to finalize things. In other words, I think they've lost that "London band connection". For "Moon Music," it feels a bit different. It's an album that seems to have been built during the MOTS tour. Everyone is involved a bit more, even if time is limited, and I remain convinced that this tour, with its gigantic scale, symbolizes the end of something. Chris seems emotional at every concert, the rest of the band appears grateful, but everything feels massive/industrial like the residence at London in 2025 (They say it's for ecological reasons, but let's be honest, that's not the only reason: it's to reduce the tour's costs, especially since they had to write a multi-million check to Dave Holmes to settle the dispute. But we can assume that this profit optimization is also to build a financial cushion to face the upcoming inactive years). These recent interviews with NME and Apple Music strengthen my feeling: it’s serious. I mean, the band gets along wonderfully; they're not on the brink of a split, but they probably feel they've reached the end of the creative mechanism, and the physical distance that has grown between them has only reinforced their emotional distance. They’ve explored so much, and let’s be honest, the MOTS period feels like a huge evolution from the AHFOD period, whereas VIVA, MX, AHFOD, and all the other albums were real shifts. EL is in a class of its own. I don't believe in solo careers: W, J, and G seem to be perfectly comfortable with this “intermittent” lifestyle that comes with numerous benefits. The only one who might have ventured off to do musical things on his own is G, as he did with Apparatjik, but he's moved on to other, less musical hobbies. Chris is different. I think he’ll be more involved with other artists in terms of composition and production. In short, he’ll step into the invisible side while remaining very influential. He won't just sit still—he's hyperactive, and music is his oxygen. As for these last two albums, I see it this way: Chris will be heavily involved in the musical theater project, while the rest of the band will be less so. And for the 12th album, I see it more as a retrospective with a lot of material that’s been stored away (and we know there’s a lot of it). In the end, it's just the logical path any long-lasting band follows: they start indie, rise very strongly, and develop a sense of entrepreneurship until they reach the peak of success, which comes with a certain bourgeois lifestyle and other desires. I can't help but think of U2's story. Look, I know this your personal reflection and assumption of them, but I don't agree with this take. They aren't drifting or anything, in-fact: - They had gotten a lot closer (Guy said this in a recent interview with FM104) - They are a lot more mature now in handling different creative ideas (Chris said this in the new Zane interview, albeit not verbatim like that, but you get the point) - They will keep doing live performances after 12th 'proper' album (Also from new Zane interview) I think you're just SO consumed by your OWN view of them, when in reality, well based on the interviews that I have seen (hence why I cited the interviews above), that doesn't seem to be the case. But who knows what the future holds. @thomasPh Edited October 2, 20241 yr by Kindnesss
October 2, 20241 yr 28 minutes ago, HowCouldIForget said: Didn’t hear it on there 😞 Shame, it’s a great song. Ughhh I hate when they tease songs like this and don't release them officially. I really hope this appears in an EP. It's in line with everything Chris talks about in the Zane Lowe interview... Annnd, it fits the theme of the album so well. That's crazy this was cut I really don't get it.
October 2, 20241 yr 7 hours ago, thomasPh said: English is not my native language, but I'll try to detail my perspective of "Oldplayer." I'd like to emphasize that all of this is my personal reflection, that these are just assumptions, and some aspects are probably wrong because I'm not close to the band. First of all, I was struck by seeing G, J, and W interviewed together in the stadium while Chris was in a more personal setting. It’s as if these three guys are there just to do the job in the stadiums; there are plenty of little things that suggest this, for example, Guy explaining that at Glasto, he arrived just before the concert and left as soon as it ended. I think this applies to J and W as well, but G is much more outspoken about these things. Speaking of G, his passions (fashion, art, and cars) seem to be taking more and more of his time. As proof, we have his move to Amsterdam to be closer to AAF and the dutch art scene. As for J and W, it’s much harder to pin down. They're very reserved; we don't really know what they do in their free time, but I think they spend a lot of it with their families and are less involved in external things. Honestly, I don't feel they are as engaged with the band as they were during the VLV or MX periods, for example. Chris is living in Los Angeles, the capital of contemporary art, the global hub of entertainment and where celebrities live. He's involved in art, his artistic passion is still very much alive, and he seems to devour music. He's a passionate person, a top-level artist, and he's probably now surrounded by people who have developed the same sense as him. I’m also thinking about the sale of "The Bakery," which is quite symbolic and confirms what we’ve noticed since Chris’s move to Los Angeles, and especially since EL: they work remotely via Facetime. Chris seems to build and shape things with team members living in LA (Bill Rahko, Phil, Max Martin, Jacob Collier). Chris is an artist, but he’s very involved to the point of having developed a sense of entrepreneurship. He has built a very large network of people related to the artistic industry, and nothing is left to chance. Finally, the band travels in studios to finalize things. In other words, I think they've lost that "London band connection". For "Moon Music," it feels a bit different. It's an album that seems to have been built during the MOTS tour. Everyone is involved a bit more, even if time is limited, and I remain convinced that this tour, with its gigantic scale, symbolizes the end of something. Chris seems emotional at every concert, the rest of the band appears grateful, but everything feels massive/industrial like the residence at London in 2025 (They say it's for ecological reasons, but let's be honest, that's not the only reason: it's to reduce the tour's costs, especially since they had to write a multi-million check to Dave Holmes to settle the dispute. But we can assume that this profit optimization is also to build a financial cushion to face the upcoming inactive years). These recent interviews with NME and Apple Music strengthen my feeling: it’s serious. I mean, the band gets along wonderfully; they're not on the brink of a split, but they probably feel they've reached the end of the creative mechanism, and the physical distance that has grown between them has only reinforced their emotional distance. They’ve explored so much, and let’s be honest, the MOTS period feels like a huge evolution from the AHFOD period, whereas VIVA, MX, AHFOD, and all the other albums were real shifts. EL is in a class of its own. I don't believe in solo careers: W, J, and G seem to be perfectly comfortable with this “intermittent” lifestyle that comes with numerous benefits. The only one who might have ventured off to do musical things on his own is G, as he did with Apparatjik, but he's moved on to other, less musical hobbies. Chris is different. I think he’ll be more involved with other artists in terms of composition and production. In short, he’ll step into the invisible side while remaining very influential. He won't just sit still—he's hyperactive, and music is his oxygen. As for these last two albums, I see it this way: Chris will be heavily involved in the musical theater project, while the rest of the band will be less so. And for the 12th album, I see it more as a retrospective with a lot of material that’s been stored away (and we know there’s a lot of it). In the end, it's just the logical path any long-lasting band follows: they start indie, rise very strongly, and develop a sense of entrepreneurship until they reach the peak of success, which comes with a certain bourgeois lifestyle and other desires. I can't help but think of U2's story. this is beautifully articulated. Thanks for writing this.
October 2, 20241 yr I cannot fathom how anyone can look at Coldplay right now, listen to the boys, and come to the conclusion that they're drifting apart. It's quite literally the opposite. They're happier and more content than ever.
October 2, 20241 yr Looks like an exclusive CD will be sold. Could this contain Shine On? https://www.instagram.com/p/DAlrBcnPD6I/ Edit: Nevermind I think that's literally just an alternative album cover picture haha Edited October 2, 20241 yr by GarbageOffice
October 2, 20241 yr 27 minutes ago, Yes? said: I cannot fathom how anyone can look at Coldplay right now, listen to the boys, and come to the conclusion that they're drifting apart. It's quite literally the opposite. They're happier and more content than ever. In fact I would say that it is something normal, but they have accepted it, so the time they are together is something they make the most of.
October 2, 20241 yr 8 hours ago, HowCouldIForget said: Feel lucky to have heard it. Agree that it's the best since MX but excluding EL in my mind. One World made me tear up a little at the end. It really is incredible what Coldplay can do with Brian Eno, I swear. It's one of the most beautiful songs they've written, for sure. The others were great as well. Out of the songs I hadn't heard all of (this excludes FLIFIL, We Pray and iAAM is rank them as One World Moon Music Alien Hits (first part) All My Love Aeterna Good Feelings Alien Radio (second parts) Jupiter Now to drive home. Neon Forest interlude?
October 2, 20241 yr 11 hours ago, thomasPh said: English is not my native language, but I'll try to detail my perspective of "Oldplayer." I'd like to emphasize that all of this is my personal reflection, that these are just assumptions, and some aspects are probably wrong because I'm not close to the band. First of all, I was struck by seeing G, J, and W interviewed together in the stadium while Chris was in a more personal setting. It’s as if these three guys are there just to do the job in the stadiums; there are plenty of little things that suggest this, for example, Guy explaining that at Glasto, he arrived just before the concert and left as soon as it ended. I think this applies to J and W as well, but G is much more outspoken about these things. Speaking of G, his passions (fashion, art, and cars) seem to be taking more and more of his time. As proof, we have his move to Amsterdam to be closer to AAF and the dutch art scene. As for J and W, it’s much harder to pin down. They're very reserved; we don't really know what they do in their free time, but I think they spend a lot of it with their families and are less involved in external things. Honestly, I don't feel they are as engaged with the band as they were during the VLV or MX periods, for example. Chris is living in Los Angeles, the capital of contemporary art, the global hub of entertainment and where celebrities live. He's involved in art, his artistic passion is still very much alive, and he seems to devour music. He's a passionate person, a top-level artist, and he's probably now surrounded by people who have developed the same sense as him. I’m also thinking about the sale of "The Bakery," which is quite symbolic and confirms what we’ve noticed since Chris’s move to Los Angeles, and especially since EL: they work remotely via Facetime. Chris seems to build and shape things with team members living in LA (Bill Rahko, Phil, Max Martin, Jacob Collier). Chris is an artist, but he’s very involved to the point of having developed a sense of entrepreneurship. He has built a very large network of people related to the artistic industry, and nothing is left to chance. Finally, the band travels in studios to finalize things. In other words, I think they've lost that "London band connection". For "Moon Music," it feels a bit different. It's an album that seems to have been built during the MOTS tour. Everyone is involved a bit more, even if time is limited, and I remain convinced that this tour, with its gigantic scale, symbolizes the end of something. Chris seems emotional at every concert, the rest of the band appears grateful, but everything feels massive/industrial like the residence at London in 2025 (They say it's for ecological reasons, but let's be honest, that's not the only reason: it's to reduce the tour's costs, especially since they had to write a multi-million check to Dave Holmes to settle the dispute. But we can assume that this profit optimization is also to build a financial cushion to face the upcoming inactive years). These recent interviews with NME and Apple Music strengthen my feeling: it’s serious. I mean, the band gets along wonderfully; they're not on the brink of a split, but they probably feel they've reached the end of the creative mechanism, and the physical distance that has grown between them has only reinforced their emotional distance. They’ve explored so much, and let’s be honest, the MOTS period feels like a huge evolution from the AHFOD period, whereas VIVA, MX, AHFOD, and all the other albums were real shifts. EL is in a class of its own. I don't believe in solo careers: W, J, and G seem to be perfectly comfortable with this “intermittent” lifestyle that comes with numerous benefits. The only one who might have ventured off to do musical things on his own is G, as he did with Apparatjik, but he's moved on to other, less musical hobbies. Chris is different. I think he’ll be more involved with other artists in terms of composition and production. In short, he’ll step into the invisible side while remaining very influential. He won't just sit still—he's hyperactive, and music is his oxygen. As for these last two albums, I see it this way: Chris will be heavily involved in the musical theater project, while the rest of the band will be less so. And for the 12th album, I see it more as a retrospective with a lot of material that’s been stored away (and we know there’s a lot of it). In the end, it's just the logical path any long-lasting band follows: they start indie, rise very strongly, and develop a sense of entrepreneurship until they reach the peak of success, which comes with a certain bourgeois lifestyle and other desires. I can't help but think of U2's story. As much or less you can be right (or wrong), thank you for writing and sharing so clearly you point of view, I agree mostly with the solo careers part. The rest we will know in the future, I guess.
October 2, 20241 yr 6 hours ago, Kindnesss said: Look, I know this your personal reflection and assumption of them, but I don't agree with this take. They aren't drifting or anything, in-fact: - They had gotten a lot closer (Guy said this in a recent interview with FM104) - They are a lot more mature now in handling different creative ideas (Chris said this in the new Zane interview, albeit not verbatim like that, but you get the point) - They will keep doing live performances after 12th 'proper' album (Also from new Zane interview) I think you're just SO consumed by your OWN view of them, when in reality, well based on the interviews that I have seen (hence why I cited the interviews above), that doesn't seem to be the case. But who knows what the future holds. @thomasPh Your first two points can also support what I'm saying: they grew closer thanks to the tour, as I mentioned. Likewise, the more professional process is exactly what I said with Chris's pre-work. Finally, I specifically mentioned that they won't split up, that they'll continue to do things together, but that creatively, they've probably reached a complicated point... Maybe in a few years, they'll feel nostalgic and go back to the studio as they have in the past. I'm a fan of Coldplay, but not a hardcore one; I like to take a step back and observe things, and I'm fully aware of what's at stake for them. I don't judge their story at all; on the contrary, I've been following Coldplay for years, and beyond the music, it's like reading a book. About the Vegas song: there's also this FFTF story; it seems to be related to the Moon Music era, so maybe something will come afterward? Edited October 2, 20241 yr by thomasPh
October 2, 20241 yr 9 hours ago, huevos con pan said: Here's a review extracted from Coldplay's forum in reddit "Absolutely! Here are my thoughts from one listen (caveat that I heard this over a speaker in a bar so these would not be my final ratings by any means). I would say that this album is similar to the best parts of MOTS. It won't be their number 1 or 2 album, but is absolutely a step up from MOTS and fits in their discography. 1. Moon Music: 3 parts. The instrumental we heard at Glastonbury and the preview they released. It shifts into a piano instrumental that has similarities to Coloratrura. Chris sings at the end before it goes into the electronic feelslikeimfallinginlove intro. 9/10 2. Feelslikeimfallinginlove: First single. 6/10 3. We Pray: Again something we've all heard. 5/10. 4. Jupiter: This is an acoustic pop song where Chris sings a lot in falsetto (about "love who you love" 7/10. 5. Good Feelings: Obviously this is played at concerts but it feels like a better My Universe. Absolute bop although I think it's taken down by having a feature (nothing against the singer however. She's talanted). I'm shocked they didn't choose it as their summer single. It should be the pop radio smash of the album. 7.5/10. 6. 🌈 I didn't get to hear this well over the crowd noise so I can't rate. 7. iAAM. The most classic sounding Coldplay song (2007-2014 Coldplay) of the album. 7.5/10. 8. Aeterna. Similar to the concert version where Chris' voice is autotuned. 6.5/10. 9.All My Love: Another classic sounding Coldplay song. Johnny's guitar does come through at the end. 8/10. 10. One World. This is a very long ballad to close the album. 7/10." Thanks for this detailed review, it sounds exciting! So, does this confirm that since MX, they've been alternating between ultra-commercial albums and more personal ones?
Create an account or sign in to comment