locust7

Certainly, you may be right, and it could be a concept album about the story ofDon Quixote and Sancho Panza., as they are like-minded outsider. The album name is going to have two words, one beginning with an M., and that could easily be "La Mancha", because that is the place where Don Quixote and Sancho Panza come from. Gwyneth lived her holidays for a few years and still has friends in Talavera, Spain, which is part of La Mancha, too. Maybe someone should ask Oracle about this...

Solar System Anyone else noticed in the Ping video, that at the right of Chris, as Roadie#42 said in fact there's a solar system bulit with silver planets??? Is that involved with the probable storyline siupposedly to be developed in LP5??? What do you think?

Cedric, Release that LIT now. If not, I'm going to believe you're an EMI agent, right now...

To Age Six Racer... Yeah, you quote only what is of your interest to call me a liar... I'm not gonna quote myself, I don't need it. Everybody in this forum can track. what i've been saying... Ok, so anybody can guess why I was so right, and can guess as well if I'm a liar. Also, everybody can see what you said here. You said I'm full of bullshit (and that's an insult), and you called me a liar.

Age Six Racer, I'd suggest not to insult me. Think I've been polite to you in other times. If I've been wrong, it was not my intention. That doesn't give you any right to call me a liar, I guess. I can't talk you in other terms if you follow talking to me like that. Nuff' said...

Anyway, in my opinion (and it's only an opinion, not a fact), that Grey's song is an edited part of the full song. The final male choir mentioned everywhere is not in..., and other bits also talked about, are not there as well

Well... I know when I've made a mistake, and I know it's necessary to be recognised by myself. I caused the confusion. I read the Q review yesterday and saw the lyrics, and I knew I was wrong. Wish I wasn´t, but I was. Nothing more to say about it but sorry again to the fandom.

Definitely it's Death and all His Friends. There's proof I was wrong in the lyrics. I would have bet that I wasn't mistaken and it was Lovers in Japan. But it's not. Sorry about the big mistake...:embarassed:

Yes, I care.. but, no, I won't explain. These are my politics, sorry...

Yes, Patrizio. But it hasn't got the second part of the song which is "Reign of Love". I know it very well... ;-)

It's Lovers in Japan This is not "Death and all His Friends". It's "Lovers in Japan". Please amend the thread... Your friend and neighbour, locust

Anybody to do the effort of translating to English? Lore? Escapist? I must go to bed.. with a smile! Coldplay Viva La Vida or Death And All His Friends 22-5-2008 **** (over 5 stars) Escribir sobre un disco como “Viva La Vida or Death And All His Friends” tras un par de escuchas debería estar penado por ley, pero las nuevas leyes del mercado discográfico mandan (sobre todo con los grupos que siguen siendo rentables al cien por cien). En todo caso, aquí tienen una valoración previa, que no precipitada. Si en unas semanas la opinión varía, se lo cuento. El caso es que –resumiendo el título- “Viva La Vida” no parece defraudar. Conscientes de su situación Coldplay han dado pasos adelante, pasos atrás, pasos hacia los lados (de hecho, miran hacia Estados Unidos más que nunca). Sus nuevas canciones son similares, pero distintas, y mantienen una suerte de coherencia que las anuda unas a otras más allá de sus particularidades. Grabado en Londres, Barcelona y New York, y producido por Brian Eno y Markus Dravs, en él Coldplay parecen evitar a toda costa sonar tan melosos como en tiempos. Así, en piezas como “42” o “Death And All His Friends” se permiten empezar lánguidos, para dar un pequeño vuelco a la canción y alejarse de la idea de balada (que jamás han conformado lo mejor de su repertorio). Y es que los mejores momentos que firman los británicos son aquellos en los que buscan nuevos caminos (necesarios a estas alturas, por otra parte) para su fórmula: las guitarras de “Violet Hill” –una pieza que gana con las escuchas-, la melodía a lo The Animals de “Cemeteries Of London”, el inicio y el cierre del disco con un sonido cien por cien Sigur Rós, el tema titular con unas cuerdas entre Michael Nyman y Final Fantasy (¿está presente Owen Pallett?), las baterías de “Strawberry Swing” o “Yes”, que combina slides, cuerdas y una segunda parte que es puro My Bloody Valentine. Eso sí, se mantiene el aroma Coldplay y esas evidentes reminiscencias a U2 o incluso The Waterboys en “Lovers In Japan”/”Reign Of Love”. Coldplay siguen siendo Coldplay, algo distintos, pero Coldplay al fin y al cabo. Autor: Joan S. Luna

Anybody to do the effort of translating to English? Lore? Escapist? I must go to bed.. with a smile! Coldplay Viva La Vida or Death And All His Friends 22-5-2008 **** (over 5 stars) Escribir sobre un disco como “Viva La Vida or Death And All His Friends” tras un par de escuchas debería estar penado por ley, pero las nuevas leyes del mercado discográfico mandan (sobre todo con los grupos que siguen siendo rentables al cien por cien). En todo caso, aquí tienen una valoración previa, que no precipitada. Si en unas semanas la opinión varía, se lo cuento. El caso es que –resumiendo el título- “Viva La Vida” no parece defraudar. Conscientes de su situación Coldplay han dado pasos adelante, pasos atrás, pasos hacia los lados (de hecho, miran hacia Estados Unidos más que nunca). Sus nuevas canciones son similares, pero distintas, y mantienen una suerte de coherencia que las anuda unas a otras más allá de sus particularidades. Grabado en Londres, Barcelona y New York, y producido por Brian Eno y Markus Dravs, en él Coldplay parecen evitar a toda costa sonar tan melosos como en tiempos. Así, en piezas como “42” o “Death And All His Friends” se permiten empezar lánguidos, para dar un pequeño vuelco a la canción y alejarse de la idea de balada (que jamás han conformado lo mejor de su repertorio). Y es que los mejores momentos que firman los británicos son aquellos en los que buscan nuevos caminos (necesarios a estas alturas, por otra parte) para su fórmula: las guitarras de “Violet Hill” –una pieza que gana con las escuchas-, la melodía a lo The Animals de “Cemeteries Of London”, el inicio y el cierre del disco con un sonido cien por cien Sigur Rós, el tema titular con unas cuerdas entre Michael Nyman y Final Fantasy (¿está presente Owen Pallett?), las baterías de “Strawberry Swing” o “Yes”, que combina slides, cuerdas y una segunda parte que es puro My Bloody Valentine. Eso sí, se mantiene el aroma Coldplay y esas evidentes reminiscencias a U2 o incluso The Waterboys en “Lovers In Japan”/”Reign Of Love”. Coldplay siguen siendo Coldplay, algo distintos, pero Coldplay al fin y al cabo. Autor: Joan S. Luna

Anybody to do the effort of translating to English? Lore? Escapist? I must go to bed.. with a smile! Coldplay Viva La Vida or Death And All His Friends 22-5-2008 **** (over 5 stars) Escribir sobre un disco como “Viva La Vida or Death And All His Friends” tras un par de escuchas debería estar penado por ley, pero las nuevas leyes del mercado discográfico mandan (sobre todo con los grupos que siguen siendo rentables al cien por cien). En todo caso, aquí tienen una valoración previa, que no precipitada. Si en unas semanas la opinión varía, se lo cuento. El caso es que –resumiendo el título- “Viva La Vida” no parece defraudar. Conscientes de su situación Coldplay han dado pasos adelante, pasos atrás, pasos hacia los lados (de hecho, miran hacia Estados Unidos más que nunca). Sus nuevas canciones son similares, pero distintas, y mantienen una suerte de coherencia que las anuda unas a otras más allá de sus particularidades. Grabado en Londres, Barcelona y New York, y producido por Brian Eno y Markus Dravs, en él Coldplay parecen evitar a toda costa sonar tan melosos como en tiempos. Así, en piezas como “42” o “Death And All His Friends” se permiten empezar lánguidos, para dar un pequeño vuelco a la canción y alejarse de la idea de balada (que jamás han conformado lo mejor de su repertorio). Y es que los mejores momentos que firman los británicos son aquellos en los que buscan nuevos caminos (necesarios a estas alturas, por otra parte) para su fórmula: las guitarras de “Violet Hill” –una pieza que gana con las escuchas-, la melodía a lo The Animals de “Cemeteries Of London”, el inicio y el cierre del disco con un sonido cien por cien Sigur Rós, el tema titular con unas cuerdas entre Michael Nyman y Final Fantasy (¿está presente Owen Pallett?), las baterías de “Strawberry Swing” o “Yes”, que combina slides, cuerdas y una segunda parte que es puro My Bloody Valentine. Eso sí, se mantiene el aroma Coldplay y esas evidentes reminiscencias a U2 o incluso The Waterboys en “Lovers In Japan”/”Reign Of Love”. Coldplay siguen siendo Coldplay, algo distintos, pero Coldplay al fin y al cabo. Autor: Joan S. Luna

Amending phrases

First phrases I can understand are: Reign of Love I can't let go to the sea I offer this heavy load locust wind lift me up I'm just a prisoner in a Reign of Love Reign of Love I can't let go

No, I know nothing about the video. But I point that maybe you should ask Coldplayer at www.coldplayzone.it, due to the Sicily location filming to see if they finally reached to gather some information regarding it. Hmm, my final thought that I want to communicate is that I think it's hard this record will leak before 11th June, and it's all I can say.

42 is complex. Think of "Paranoid Android" as an structure reference, and to me seems clear, that despite this, Chris wanted to go away from Radiohead song as a sonic reference. Yes is heavier and darker than Violet in its first part. (Remember the song combines Yes-Chinese).

About Cemeteries: I must reveal I haven't heard it. I know only that the sound is guided by handclapping, and it's not a dark sounding song.

About why are the songs combined? This a pure speculation, but I'd say all the songs were good, the album was way too shortnad if they decided to stay with a reduced number of songs, the solution was to combine songs them to fit as a suite or mini-opera. About the transitions, it feels like they're...hmm... natural? Arcade Fire is Chris' favourite group, and Chris always loved how they sound epic and spectacular with oblique lyrics, being indie and remaining indepedent developing their projects. As I said, Markus Dravs, was the producer (well he's really only recognised as engineer) in the "Neon Bible" recording

Favourite song? From what I've listened :"Viva La Vida" (the song) 42 is also a very good one. I think there are song that top the quality of "Violet Hill" being this a very good song. Oh, I forgot to talk about some "Arcade Fire" influence as "Neon Bible" was recorded in a church completely, and Dravs was the producer, regarding the epic sonic freedom of the songs...

As I haven't heard it all, not all the songs, not all parts of the songs I've listened, I'm not sure. But to my understanding, only the combined songs (Reign-Lovers, Yes-Chinese and specially Death-Escapist) will for sure be longer. I doubt it vey much about the others. Chirs said in Jo Whiley the album is very short.

No, the guitar sound varies a lot. Violet Hill is heavier. Other songs "Life" are almost acoustic, Viva has very free sound..., Yes-Chinese is heavy at the beginning, shoegazer at the end, Strawberry is bluesier, and is some parts of songs you'll feel "country" sound... As "The Joshua Tree" varied in style, this also happens to be the case (Remember that "Running to Stand Still" ,"Trip Through Your Wires" or "Where The Streets Have No Name" are very different between each other)

Yes. Guitars and guitars are all around, and in one case "My Bloody Valentine" or "Ride" will rise as an influence as the song is certainly influenced by shoegazer sound... And it's the guitar and the rhythm that define in each case how the song will be...

As in the previous case, there are some details I don't want to reveal. All I can say is in any case I haven't listened the whole album, but I've listened snippets, and not of every song...