Sir Raptor of Nonsense

Why is every Coldpaly discussion in here an either-or argument? Why are we trying to justify the album's sucktitude rather than discuss whether Chris' reaction to reviews is overblown? Of course you can't please everyone, but when people of a respectable class begin to slander your album and exaggerate its lousiness, yeah, I think you have a reason to be 'devastated'. The Rolling Stone review was at least respectable, though, it didn't outline only the bad. The NY review, contrarily, was out-and-out nasty. Even from an impartial view, Coldplay are hardly 'insufferable', though some might get sick of them. That's you being sick of them, not them sickening the whole blamed world. That is, the band is not insufferable. I don't think I can say that much for their self-involved fanbase that argue their biases, whether for or against the album, without discussing any merits beyond personal opinion.

Am I the only one who'd lose faith in the band if they released "Talk" as a single? It's an okay song and everything, but it would just bug me tremendously if they profited from a riff that can't really be called their own -- and I'd technically say the same for "Square One", but at least that one doesn't belong to another band.

Oh, for the love of... is it 'best', or 'favorite'? Those are different words: 'Best' is objective; i.e. "It's hugely overrated, but the instrumentation and sentiment was never so potent as on "Yellow", so that has to be their best song.". "Favorite" is "It may not be that original and the lyrics may suck, but dangit, I enjoy "Swallowed in the Sea" more than any other Coldplay song." I'm going to treat this as a 'best song' topic, hence objectivity: I'd say it's a tie between three songs: "Clocks", "Trouble", and "White Shadows". "Clocks" is spacey and epic in a way that only a Coldplay ballad can be; everyone triumphs and the result is absolutely massive. "White Shadows" also has that sort of critical mass, but it falls on the rockier side of it; everyone is working very, very hard to create something infectious and rythmic. "Trouble" is another species entirely: Intimate and genuine. There's no so-called "overproduction" here(nor is there anywhere in Coldplay's catalogue, but that's anoter topic altogether), it's just a very simple,approach to song that stands very tall and proud, if self-consciously. These are not my very favorites. If they were, you'd see "Swallowed in the Sea", "Everything's Not Lost", "A Rush of Blood to the Head", "A Message", "Don't Panic", and swarms of others, but it's bigger than what my favorite songs are: It's the track(s) that best prove to the public that Coldplay are a very pignant and talented band -- whether or not they like them, it's more an acknowledgement than anything else.

Why are so many people scared of change? Because they're morons. Coldplay fans in particular are a little apalling in this department; we're only on the third album after having made gradual evolutions, and people already want a total return to the Parachutes formula. I mean, I love that formula, but you're just fans. They don't owe you anything, you owe them. So indulge them their experimentation, if they actually wind up going that direction. I guarantee you that if they do, there will be an eventual return to Parachutes' simplicity. They should shuffle into the studio and record a little something before they change their minds, I'd say. Don't just let the idea decay in an idle quotation...

I should point out that the accentuation on the streetlamps and headlights is very clever, proving that the director was at least competent.(Allegedly the wandering bit was Chris' idea to throw in. Not your best, Mr. Martin.)

"White Shadows". I don't think I need to explain why again.

Massive ballad + anthemic quality + shiny textures = Snow Patrol's "Run"

Haven't heard it yet, but I'm impressed that a band in this modern age is actually going to release an album only a year after their first.(Their website claims that "simply and quickly" is the way that "albums should be recorded.") Still, I'm eager. They don't have the talent the Killers have, but they do remind the world that pop-rock can be fun without being annoying or too serious.

Wild -- we must have been watching at the same time. I was impressed that it was "Beautiful Day" and not "City of Blinding Lights", and I was impressed a moment later when "Trouble" appears -- and with a very interesting and, dare I say, unique video. Strange that their musical talents seem to be expanding as their video-related creativity continues to contract... Side point: Insomniac Music Theater sometimes does play that which is not brand new; they played Radiohead's "Creep" last week. It is indeed much better than MTV; no hip-hop to distract you.(Though MTV has Video Mods, which can be pretty entertaining...)

It's sort of like comparing oranges and limes; they're both citrus fruits, but they leave a different taste in your mouth. "The Scientist" is bittersweet, simple, and very genuine. "Fix You" is a more pleasant, and perhaps 'shmaltzy' song, but far less humble; it's a star-reaching tune. Ultimately, "The Scientist". But tack a piano over the organ on "Fix You", and I doubt there'd even be much debate on this matter.

"Such a Rush". Why that track gets a bad rap in this fanbase I'll never get.

Foo Fighters' "In Your Honor" -- one of the better tracks from a somewhat helter-skelter album.

I thought for sure it was going to be U2's The Unforgettable Fire(both for his professed adoration of "A Sort of Homecoming" and the fact that it seems to be the U2 album that Coldplay most consistently resembles). A remarkably nonconformist choice for him; truly a plot twist for the ages.

"Swallowed in the Sea" -- it's a fantastic track if you'll allow yourself to love it.