felicote

amsterdam 36 politik 26 the scientist 23 a rush of blood to the head 19+ in my place 4 clocks 2 -

27 Cemeteries of London 15 42 08 Lovers In Japan - 12 Viva la Vida 38 Strawberry Swing + 23 Death and All His Friends

26 Cemeteries of London 16 42 09 Lovers In Japan - 11 Viva la Vida 38 Strawberry Swing+ 23 Death and All His Friends

25 Cemeteries of London 16 42 09 Lovers In Japan - 12 Viva la Vida 35 Strawberry Swing+ 25 Death and All His Friends

24 Cemeteries of London 16 42 10 Lovers In Japan - 12 Viva la Vida 35 Strawberry Swing + 26 Death and All His Friends

23 Cemeteries of London 17 42 12 Lovers In Japan - 12 Viva la Vida 33 Strawberry Swing + 26 Death and All His Friends

23 Cemeteries of London 15 42 13 Lovers In Japan - 13 Viva la Vida 32 Strawberry Swing + 27 Death and All His Friends

23 Cemeteries of London 15 42 13 Lovers In Japan - 14 Viva la Vida 32 Strawberry Swing + 26 Death and All His Friends

24 Cemeteries of London 17 42 14 Lovers In Japan 1 Yes - 10 Viva la Vida 29 Strawberry Swing + 28 Death and All His Friends

Coldplay The National The Hold Steady Sigur Ros Jakob Dylan

21 Cemeteries Of London 16 42 13 Lovers in Japan - 4 Yes 11 Viva La Vida 30 Strawberry Swing + 28 Death and All His Friends

Also, Chris likes rap. And Will obviously enjoys some hip hop from the beats in this last album, particularly Lost!. So I would take Rap off the list. Why lil wayne? cant say that im a fan but coldplay does have #1s in both singles and albums in both UK and US. so its not like lil wayne is preventing anyhting. I would add Alan Mcgee to the list.

wow, i think i disagree with you on EVERYTHING. first of all i wouldnt call Eno an enemy of ocldplay when the band itself consider him to be a mentor and a great help in their last album. So if Coldplay loves Eno, how can he be Coldplay's enemy. Second, Al Gore never claimed to invent the internet. His exact quote is "During my service in the United States Congress I took the initiative in creating the internet. I took the initiative in moving forward a whole range of initiatives that have proven to be important to our country's economic growth and environmental protection, improvements in our educational system." Which is completely true. He was in the forefront of the legislative side of the development of the internet. And it is safe to say that without him the internet would be much different and/or it may have taken many more years for its creation.

1 warning sign 2 sparks 3 amsterdam 4 politik 5 a rush of blood to the head 6 shiver 7 everything is not lost 8 don't panic 9 trouble 10 Strawberry Swing 11 Square One 12 42 13 Life in Technicolor 14 Parachutes 15 Ladder to the sun 16 Crests of waves 17 Harmless 18 white shadows 19 Chinese Sleep Chant 20 The Goldrush 21 Yellow 22 Green Eyes 23 God Put a Smile Upon Your Face 24 See You Soon 25 Gravity

Coldplay Sigur Ros The National The Hold Steady Jakob Dylan

best post ever.

most of my gay friends are actually really good dancers, so i would say chris' dance moves are quite straight.

i picked 42. but you should have added 'f death will ever conquer me' to the list.

^ i guess you didnt read the second page since hotplay didnt post it. anyways, here it is. If X&Y was a big, shiny hot-air machine, you can all but hear Coldplay dismantling it on Viva La Vida. There's a lively sense of disarray to the album, a splatter of different ideas and sounds that the band doesn't try to tidy up. There are Middle Eastern string breakdowns, Afropop guitar peals, a jaunty house-music pulse, and, on "Lost!," a massive, rattling hip-hop beat that runs beneath a church organ. Timbaland once gushed that he'd love nothing more than to work with Coldplay, and this track Play Mediahelps us imagine what it might have sounded like if he had. But who needs Timbaland when you can afford Brian Eno, another paradigm-flipping producer whose services are in far shorter supply these days? Eno is responsible for introducing David Bowie to noise, Talking Heads to polyrhythms, and U2 to cosmic sweep. (Given this third achievement, you could say that X&Y was an unintentional parody of an Eno album, place-holding until the real thing came along.) He likes to evict bands from their comfort zones. The hypnotized jam session was his idea, as was frequent instrument swapping, all to shake the band free of ingrained habits. There are songs here that only Eno could have produced. "Reign of Love" recalls U2 but reminds us that Bono and friends are great not just at cloud-parting bombast but quiet, sensuous ballads, too: A central piano arpeggio Play Mediabillows gently while little specks of guitar noise hum and tremble. Unlike your typical U2 ballad, though—and as with "Violet Hill"—there is no chorus or 11th-hour climax. The song just goes on for a few minutes before ending as quietly as it began. Throughout the album, Coldplay finds fresh ways to balance the majestic with the miniature—precisely what was missing from X&Y. Here, some credit is due to Eno's co-producer, Markus Dravs, fresh from his work on Arcade Fire's Neon Bible. That Montreal act, beloved by Martin and Bono alike, are masters of the ramshackle epic, and there's a similar sensation of give, clatter, and scrappiness to even the biggest songs here, from the ecstatic clapping during Play Mediathe final section of "42" to the unkempt piano jangle of "Lovers in Japan." Viva La Vida is an album full of happy jolts and surprises from a band no one has ever accused of being surprising. Some of the ideas don't quite congeal, but it's exciting to see a band this big put its scrap paper on display. The lyrics, too, have changed. Whether imagining an apocalyptic snowfall in "Violet Hill" or the crumbling of a once-proud empire in the title track, Martin has mortality and grim twists of fate on the brain this time out. It's a darker Martin than we've seen—perhaps those haters who deride him as a whimpering kitten finally got to him. He still has a weakness for platitudes ("You might be a big fish in a little pond, doesn't mean you've won," he informs us helpfully on "Lost!") but offsets them with shadowy little vignettes throughout. It's exactly the move the band needed to make if they wanted to become—and not just sell like—heavyweights. To be fair, radical change is relative, and with Coldplay, a little upheaval goes a long way. There are still frequent glimpses of Martin's old softie self, and his inner optimist ultimately wins out. At the end of "Yes," during a surprisingly tender guitar meltdown, two words are faintly intelligible: "Sleep satisfied." Bad news, James Blunt: Even at their most experimental, bedtime still belongs to Coldplay.

... that was a good review from slate. Did you not go to the second page?

http://www.slate.com/id/2193566/

this song should have been on the album instead of reign of love. with will singing it of course.

yup

whats wrong with the handclapping? and whats wrong with incorporating more interesting beats into songs.

Not sure if this is good or bad but i thought it was a good read We all got to listen to Viva La Vida today, so we're sort of in the same boat here. Press play, and the album starts with "Life In Technicolor," a shimmery piece of keys and electronics that eventually moves into a "Where The Streets Have No Name"-y, lyricless rev-up, all of which is an announcement: Hey, did you hear we got Brian Eno to do this record? Hey, we did -- and now we're sorta hoping this to be Coldplay's Joshua Tree. Unfortunately, that it is not. But it is great at not being X&Y, which is a major accomplishment. Over three albums, Chris Martin found a simple and relatively understated formula for successful songwriting: melodically, he hit it on Parachutes -- verse, verse up an octave, falsetto hook -- expanded it on Rush Of Bood, and made an overblown parody of it on that last one. If nothing else, this album shows the band is thinking, and is self aware: say hello to less falsetto, different song structures, and a legendary producer. Already we're off to a good start. Coldplay's been talking of wanting a Reinvention, a reinvention of everything but the fact that they are a massive seller. Balancing an artistic shift with maintaining commercial appeal is not easy (see: rock history). But let's at least start with giving props to the band for recognizing there was a problem with their last album, no matter how many millions (10 of 'em, actually) it sold: you can't just keep rewriting your hits (see: "Speed Of Sound" is "Clocks," "Fix You" is "The Scientist," etc.) and expect people not to catch on. To that point: We called "Viva La Vida" a rut buster, and the same can be said for the record. Viva La Vida Or Death And All His Friends is exactly the record this band needed to make: a slightly shifted Coldplay album, with some memorable moments, some new tricks, and an overall emotionality that will appeal to anyone who's ever liked a Coldplay song. So, those new tricks? Well for one there's the Eno touch, adding Edge-y guitars here, peripheral haze there, making the U2 comparisons more firm and run deeper than big arm poses, world saving politics, and arena-filling intent. Actually Coldplay's never been shy about confessing the bands they pilfer from -- Travis, Radiohead, Echo & the Bunnymen -- and the new artists that turn up in the sonic stew are ones they've similarly copped to liking publicly, and vocally. Last year Chris talked about being in the studio, saying for one song the wanted to "steal ... from My Bloody Valentine." Sure enough the last two minutes of "Yes" -- the "hidden track" (un)titled "Chinese Sleep Chant" -- hits with some unexpected, nice Loveless-lite shoegazing. Next, try taking it 2:45 into "42" and past the Radiohead-indebted middle section. Hear a sudden gearshift into Arcade Fire? It's not just your ears, and it's not just the newfound theatrical band attire -- Chris thinks they're the "the best band in history." Wind your way through the bittersweet, chanting album closer "Death And All his Friends," and the record concludes with two minutes of that very same music that introduced it during "Life In Technicolor," only now with lyrics: a rephrased nod to Abbey Road's love-ly "The End." Only Coldplay come to a different conclusion: Instead of "in the end the love you take is equal to the love you make," here we learn "in the end we lie awake and dream of making our escape." We don't know how Chris Martin knows that, but it's heavy. In fact there's lots of heavy stuff going on on this record's lyrics, but the title sorta tells you that: Life, Death, and etc. There's God in Chris Martin's house and in his head on the glorified rum-swigging shanty "Cemeteries Of London," he's losing but not lost on, uh, "Lost," and we learn that "those who are dead are not dead but are living in [his] head" on "42," which you should totally tell your friend next time he's shrooming. His lyrics are still, at best, vague, and at worst, trying to sound important. But that vibe fits the moments that work best, the song portions calculated to be Everyman's soundtrack: the sorta African guitar line in the first half of "Strawberry Swing" and its "such a perfect day," the existential pangs of the organ-laced and worthy "Lost," the uplifting "one day we'll work it out" romance of standout "Lovers In Japan/Reign Of Love," etc. Stack those portions with "Chinese Sleep Chant," and the previously loved up rut buster "Viva La Vida," and you'll find a band that's managed to outweigh the dull moments ("Cemeteries," the last half of "Strawberry," "Yes," for starters). Chris Martin told the NYTimes, "We would love to be the biggest band in the world, but we understand if you don't want us to be." What's the metric for that these days? Whatever it is, Guy Hands and EMI should be offering a bonus: this album will sell more than any other rock album this year. We'd like to think it's 'cause they made a better record than last time, but the fact that it's already the best selling album presale in iTunes history, and on track to be the highest first week sales of any album in iTunes history, probably refutes that theory. People still want a Biggest Band In The World. And Chris Martin has done everything in his power to play that part. Oh yeah, there are three other guys in the band, right? Those guys, too. Viva La Vida Or Death And All His Friends is out 6/17 via Capitol/EMI. http://stereogum.com/archives/premature-evaluation/premature-evaluation-coldplay-viva-la-vida-or-deat_010260.html