Chris's Nuts

ahhh M83 and Blonde Redhead are great nuo-gazers.

hate's a strong word. i don't. but i don't fawn over 3 part song simply because its a 3 part song. it just needs a little bit more umphhh.

sigh. i hardly ever get sexually harrassed at work. i'm thinking about talking to h.r. about it.

Dont Panic 10 Shiver 10 Spies 10 Sparks 10 Yellow 12 Trouble 10 Parachutes 8 High Speed 10 We Never Change 10 Everythings No Lost 10 Politik 10 In My Place 10 God Put A Smile On Your Face 11 The Scientist 11 Clocks 9 Daylight 9 Green Eyes 9 Warning Sign 10 A Whisper 10 A Rush Of Blood To The Head 10 Amsterdam 13 Square One 11 What If 10 White Shadows 11 Fix You 11 Talk 10 X&Y 10 Speed Of Sound 10 A Message 10 Low 9 The Hardest Part 11 Swallowed In The Sea 11 Twisted Logic 10 Til Kingdom Come 8 - Life In Techincolor 10 Cemetaries Of London 8 Lost! 10 42 10 Lovers In Japan 10 Reign Of Love 9 + Yes 10 Chinese Sleep Chant 10 Viva La Vida 10 Violet Hill 10 Strawberry Swing 11 Death And All Of His Friends 11 The Escapist 10

34 Strawberry Swing 28 Cemeteries of London 22 Death and All His Friends 16 Viva la Vida 13 Lovers in Japan + 11 42 - goodbye #42, you are too short, too derivative of Radiohead, and lyrically immature. you must die.

This thread is dedicated for those who love shoegaze music. What is shoegaze? Well it was the underground movement in Britian during the early 90's and the transitionary period from Madchester to Britpop. The loud noisepop of Jesus and Mary Chain's Psychocandy mixed with the dreampop of Cocteau Twins with a dash of The Cure's Disintegration. Basically beautiful waves of noise. Britian's version of Grunge you could say. You'll hear the sound reflected in artists works from Coldplay's Chinese Sleep Chant to Radiohead's Blow Out, to half of Smashing Pumpkin's Siamese Dream. But you'll likely know it best by its undisputed champion My Bloody Valentine's 'Loveless'. But others classics are just as essential such as Slowdive's 'Souvlaki', Ride's 'Nowhere, and Chapterhouse's 'Whirlpool'. Loads of other bands (Swervedriver, Lush, Pale Saints, Adorable, early The Verve, Catherine Wheel, Cure, and quite a few more great bands) also reflect this great undervalued genre. so thems the basics.....who's already a fan and who wants to find out more :)

[deep] I'm wondering if VLV will finally give Coldplay the edge up on critics or if will just another indicator that they are good but not great band that while successful has yet to really a musical impact like their earlier peers (Oasis, Radiohead). Or can bands in today's current evironment actually achieve anything that hasn't already been created by bands before them. Are they doomed to retread where other have boldly gone before? [/deep] Thoughts....

who said that? why would they conclude that?

34 Strawberry Swing 28 Cemeteries of London 22 Death and All His Friends 17 Viva la Vida 12 42 - 11 Lovers in Japan +

TIE, both are great...........

i'm not surprised to see layoffs in today's economy but right after their finacial success of the year its highly disappointing.... maybe they'll blame it on coldplay giving Violet Hill away for free.

35 Strawberry Swing 28 Cemeteries of London 22 Death and All His Friends 17 Viva la Vida 12 42 - 11 Lovers in Japan+

fix you 49 speed of sound 41+ swallowed in the sea 15- Talk 14

Every band has missteps. Some are just bad (Oasis' Be Here Now). Some are deemed weak by the fanbase but revered by those outside (Blur's Think Tank, U2's Pop, REM's Monster), and some are loved by the fanbase but hated by the public at large (Radiohead's Kid A). VLV seems to meet both fans, public, and critics approval which X+Y just could not accomplish.

Sorry X+Y while its still a good album is a step down from AROBTTH. Viva La Vida is them finally noticing their weaknesses and bypassing them. First its formulaic in breaking no new ground in terms of song structure. You have so many songs (What If, Square One, Fix You, X+Y) that all start with synth intro with Chris talking/singing over. Most still end that way. Its boring, its fomulaic, and its the band stuck in a rut. Voiceovers SUCK. Second lyrically its a far weaker album. All of the confessional music is lost to song about OTHERS. Songs about Chris are rather absent as almost every lyric is YOU. You and me. Him and us. "You're in control is there anywhere you wanna go? You're in control is there anything you wanna know? " "Maybe you'll get what you wanted maybe you'll stumbled upon it" "When you try your best but you don't succeed When you get what you want but not what you need When you feel so tired but you can't sleep Stuck in reverse" "You can take a picture of something you see In the future where will I be? You can climb a ladder up to the sun" "You see the world in black and white No color or light You think you'll never get it right But you're wrong, you might" "You cut me down a tree And brought it back to me And that's what made me see Where I was going wrong" the album is FULL of you and me songs. This generic focus and lack of personal touch just feels so unfocused. Even the band feels that the album winds on to long ("It should have been 11 songs but which songs should have been cut we disagree on"-Chris). Part of the joy of VLV is the band discovering new instruments, more World rythms, and taking on more musical roles and sounds. I just got sick of Chris's falsetto being used as a crutch and being used over and over and over again. Here's the Rolling Stone article which Chris simplifies it better than i can.... What was Brian Eno's assessment of the band? He goes, "Your songs are too long. And you're too repetitive, and you use the same tricks too much, and big things aren't necessarily good things, and you use the same sounds too much, and your lyrics are not good enough." He broke it down. How did you respond? You deal with it. You can either sit 'round, look at your platinum discs and say, "Fuck you, you're all wrong," or you can go, "OK, he's probably got a point." Brian and Markus [Dravs, the co-producer] broke us down in a sort of military boot-camp way. Within 20 minutes, we'd forgotten about any previous record sales. X&Y got some mixed reviews, but the harshest was from the New York Times, which called Coldplay the most insufferable band of the decade. How did you handle that? It was a big deal. It's the first real attack on your band, and from a publication we all respect. I agreed with a lot of the points. It was like, "Yeah, I do sometimes go for the obvious, and I do sometimes fall back on old tricks." So, in a way, it was liberating to see that someone else realized that also. And there is something glamorous to me in taking a bit of a beating and keeping on going. When you do something that some people don't like quite so much, then you are free again. Your whole canvas is open. You don't have to fall back on piano, we don't have to fall back on falsetto, you don't have to fall back on every song being a yearning love song. So simply X+Y = fomulaic, stale, and more of the same. VLV = liberated, refreshing, wiser.

Dont Panic 10 Shiver 10 Spies 10 Sparks 10 Yellow 12 Trouble 10 Parachutes 8 High Speed 10 We Never Change 10 Everythings No Lost 10 Politik 10 In My Place 10 God Put A Smile On Your Face 12 The Scientist 11 Clocks 9 Daylight 9 + Green Eyes 8 Warning Sign 10 A Whisper 10 A Rush Of Blood To The Head 11 Amsterdam 13 Square One 11 What If 10 White Shadows 11 Fix You 11 Talk 10 X&Y 10 Speed Of Sound 10 A Message 10 Low 9 The Hardest Part 10 Swallowed In The Sea 11 - Twisted Logic 10 Til Kingdom Come 9 Life In Techincolor 10 Cemetaries Of London 9 Lost! 10 42 10 Lovers In Japan 10 Reign Of Love 8 Yes 10 Chinese Sleep Chant 10 Viva La Vida 10 Violet Hill 10 Strawberry Swing 11 Death And All Of His Friends 10 The Escapist 10

Amsterdam 38 Politik 30 + AROBTTH 24 The Scientist 18 -

34 Strawberry Swing 28 Cemeteries of London 22 Death and All His Friends 17 Viva la Vida 13 42 - 11 Lovers in Japan +

45 trouble - 49 yellow +

yeah they only played that twice. once at a concert and once at a soundcheck (that I was at). highly undervalued song.

Very interesting take and it does add a new level to it that I didn't know was there. Someone will have to leak this knowledge the powers that be so they can ask them in one of the upcoming interview sessions if this was intended or not.

Agree, that Beatlesque riff is just massive. One of the better non-singles

A Whisper is such a unique track. Almost a drum & bass rythm, dark guitars but then these uplifting synth waves. Blasts when the vocals enter. Love the descending chords toward the end in the background. Glad I was one of two cities ever to hear it live. (actually it was at a soundcheck so one of 20 people there in Denver) So underrated.

48 trouble - 46 yellow +

Amsterdam 37 Politik 28+ AROBTTH 23 The Scientist 20 - In My Place 2