locust7

Well, now that you know that I was telling the truth about first listening of "Violet Hill"... http://www.coldplaying.com/forum/showthread.php?t=43945 I think you'll be able to digest some more advances (and will believe me): - Next singles are potentially 42 and Viva La Vida, in this order, but that could still change, regarding the last one - The Escapist or Death and All His Friends (or both combined) have a weaker possibility too - Yes, Violet Hill reflects and combines in its lyrics political and personal issues (it's exactly what you're thinking) and the "Bucket for a Crown" connections are true, as well as the U2 "Lemon" connection - Viva La Vida is a faster and even more romantic and free song than Violet Hill - The album begins the same way it ends (aren't Life and Death close sisters after all?) - Despite the title, seems dubious that Chris will sing a single word in Spanish in the whole album (maybe just a chorus) - The biblic and religious issue is very present in the lyrics throrought the whole album as in Violet Hill - The Pink Floyd, Genesis, Radiohead and U2 (specially "The Joshua Tree era) comparison will without no doubt follow with the release and reviews, but I must say it's a modern and further step due to more and heavier use of electronics (thanks to Eno and Dravs) - Every song is different. The album is eclectic in its moods and sounds, in the way of Portishead "Third" album, but the whole is more valuable, in the same vein And some important questions I throw up: - What do you believe is the song that was re-recorded from scratch from all into the final mix (Prospekt said)? - What do you expect from 42? (And I'll tell you it's not what you can think from Violet Hill listening)

PaulSP, I just return because of you. You have no idea on that. EMI didn't send it. It was Chris... Here's a photo of the journalist with Chris taken in 2005. In fact, Chris made a prologue for a Ruiz's book on music celebrities. [ATTACH]26875[/ATTACH]

Oh, my last post has not yet been translated about how the record ends. Sure Zemy will do it. And my last opinion, I think it's no coincidence that 3 characters fron the whole Delacroix painting, not the chopped part of the cover resemble Coldplay members. (Chris, Guy and Will). Ends. locust7.

Ok, That's all folks. Transmission ends here today... I'll be back in the evening (for europeans) to share opinions with everybody. Your friend and neighbour, locust7

El álbum ,que acabamos de escuchar por cortesía de los autores, arranca con una bella “Life in technicolor” ,convertida prácticamente en un instrumental ,aunque se le oiga Martin:”Baby, este es un mundo violento”. El instrumental posee una melodía que recuerda a los Coldplay de “Parachutes”. Chris Martin ,en su propia revolución estilística ,no quiso cantarla aunque tenía letra , temeroso a que recordara viejas canciones como “Yellow” . Había que romper el molde. Todo el álbum lleva la clave adherida de guitarras más violenta ,más signifitivas y “backin-tracks” más arriesgados que los esbozos sentimentales de los anteriores álbumes. Como si Coldplay hubieran planeado un sonido que fuera compatible con las actuaciones en grandes estadios. El paso o la asignatura pendiente del grupo. El intento de ser U2 o los Rolling Stones en los grandes estadios. Ese estilo es muy perceptible en el primer single, el primer tema estrella “Violet Hill” , que se ha regalado en la propia web del grupo. Si pretendían sorprender con “Violet Hill” lo han logrado. Todo el estigma del tema rezuma potencia, rabia ,casi como una conversación “Si me amas, ¿por qué no me dejas conocerme?”. Todo el final del álbum es casi una suite que acaba en un recurso sobre el propio título del cuadro de la Kahlo:”Viva la vida and death and all his friends”. Es un repaso sonoro sobre nuevas inquietudes musicales , sobre nuevas tendencias donde puede viajar la música. Y,desde luego, no con el karaoke. “La Liberté guidant le people”

Inteligentemente, el título del cuadro de la Kahlo ha servido a Martin para diseñar el tema más atrevido, perspicaz, romántico y libre que hemos oído en mucho tiempo. “Viva la vida” posee unos colores sonoros únicos ,quizá apoyados por la paleta de Brian Eno –productor entre otros de U2- y dibujados en nuevos estilos jamás abordados antes por Martin. Como si Coldplay fueran los hermanos modernos y vanguardistas de U2. El estribillo es perfecto, demoledor, impecable. El álbum ,que acabamos de escuchar por cortesía de los autores, arranca con una bella “Life in techinicolor” ,convertida prácticamente en un instrumental ,aunque se le oiga Martin:”Baby, este es un mundo violento”. El instrumental posee una melodía que recuerda a los Coldplay de “Parachutes”. Chris Martin ,en su propia revolución estilística ,no quiso cantarla aunque tenía letra , temeroso a que recordara viejas canciones como “Yellow” . Había que romper el molde.

Guy Hands aguarda impaciente las ventas del álbum de Coldplay para sacarle de una ruina ,de la que se dice que ha perdido unos 100 millones de libras en menos de un año, en medio de una crisis interna en la compañía ,a la espera de dar el despido a dos mil empleados en todo el mundo. Chris Martin , líder del grupo , veía casi todos los días un “graffiti” con la imagen de Frida Kahlo y el nombre de “Viva la vida” , mientras iba camino del estudio de grabación en Los Angeles, en las primera semanas del año. Como buscaba desesperadamente una buena frase para el titulo del álbum ,pensó que “Viva la vida” era excelente. Le importaba poco que sonora a a la “vida loca” de Ricky Martin. Además, Martin estaba totalmente enganchado en la cultura de la Kahlo. Su esposa ,la actriz Gyneth Paltrow es intíma amiga de Madonna, poseedora de al menos media docena de cuadros de la pintora mejicana. Además, Gyneth , criada en la provincia de Toledo, habla perfectamente español. Kahlo ,como amante de Leon Trotsky en sus años mejicano, llevaba a la revolución. Y, de paso, Martin se acordó de un buen grupo japonés Dragon Ash , con su álbum “Vive la revolution”. Y de ahí dedujo pasar al famoso cuadro de Eugene Delacroix de 1830 ,”La liberté guident le people” –hoy en el Louvre- con la famosa Marianne con las tetas al aire y que su postura le valió al escultor Frederic Bartholdi para diseñar su famosa “Estatua de la Libertad” . Un poco de Kahlo ,un poco de Delacroix son dos guiños magníficos para intensificar el compromiso del cuarto álbum de Coldplay. Pero ¿el contenido del álbum está a la altura intelectual de la portada?. Sólo el maldito tiempo da o quita razones , pero habría que apostar . “Viva la vida” es posiblemente una obra maestra. Con certificado de que pueda ser un “clásico” en pocos años.

Hi, let me tell you that I want to share the emotion of "Violet Hill" going public. Last words, I've got to say is you won't be disappointed. Here is a review in spanish of the whole record made by spaniard music journalist Julian Ruiz. He heard it all. His website is www.plasticosydecibelios.es La noticia es la que manda. No hay duda que es El Álbum, la sensación del año. Tenía miedo de que este cuarto trabajo de Coldplay no cubriera las expectativas, pero no sólo es que no me haya defraudado, sino que me ha sorprendido. Sólo el tiempo da la razón, pero supongo que es una obra maestra. Un clásico. No me extraña que lo haya titulado 'Viva la vida', en homenaje al famoso cuadro de Frida Khalo de las sandías. El tema que da título al álbum es una canción magnífica. Aventurada, llena de matices y con un estribillo soberbio, impecable. El álbum empieza con 'Life in Technicolor', con una melodía muy 'coldplay', eterna. Ignoro por qué la han dejado como un instrumental. 'Violet Hill', que es el primer 'single', es como experimentar en unas nuevas vías, muy al estilo de U2, pero que el grupo irlandés no se atrevió o no quiso verlas. Se nota en este tema la mano de Brian Eno como productor y su trabajo en U2. Aunque Chris Martin se ha llevado muy bien con el ingeniero de Eno. Otra de mis grandes favoritas es el tema llamado '42', con el sentimiento típico de Martin y su voz que penetra en el alma. Pero los 10 temas están sumamente cuidados, repletos de sorpresas, con más guitarras que nunca. La portada es el famoso cuadro de Delacroix de 'La Libertad guiando al pueblo', que se encuentra en el Louvre. Estamos en mayo. Tiempo de revoluciones. Coldplay presentarán el álbum en directo en el Brixton Academy de Londres, el próximo día b>16 de junio, que coincide con la publicación oficial del disco. Una semana después, el lunes día 23, lo presentarán también en vivo en el Madison Square Garden. Ambos conciertos serán gratuitos. Este es el orden de canciones en el álbum: 'Life In Technicolor' 'Cemeteries Of London' 'Lost!' '42' 'Lovers In Japan/Reign Of Love' 'Yes' 'Viva La Vida' 'Violet Hill' 'Strawberry Swing' 'Death And All His Friends'A lo largo de esta tarde, profundizaremos más en el contenido del álbum. Un escalofrío recorre la espina dorsal de la industria discográfica . El cuarto álbum de Coldplay , titulado “Viva la vida” puede salvar el honor de un negocio en vías de extinción. Sobre todo , supone un balón de oxígeno para Guy Hands , un “espontáneo” que saltó al circo de la música al comprar EMI - el sello de los Beatles,Pink Floyd, Queen- , como supuesto “pelotazo” de su compañía de capital riego Terra Firma. Pero a los pocos meses , este pequeño rey del karaoke- se dice que tiene más de una de la mayores colecciones del mundo- se dio cuenta que se había equivocado.

I hadn't listend to Elbow's last record and single until today. Well, I must say that the guitar that begins at 1:15 in "Grounds for Divorce" sound similar to the one that begins with the first verse of "Violet Hill". But the woman description on the radio must be confused because the piano breakdown on "Violet Hill" is not at the middle, baut at the end. The middle belongs to a bridge with a guitar riff mainly.

How does it sound? Answering what the song sounds like, seems in the vein of an opener as Square One or Politik, but the sound is different as I explained. Where as Square One was full of synths and Politik was more orchestral, Violet main part is "instrumental", and piano, guitar, drum and bass are the main combined parts. Just slight synths on the beginning and end. Seems more organic but visceral. For the guitar parts think of the central part of the three parts of Radiohead's "Paranoid Android", but with shorter and heavier guitar riffs, but this time combiend with a piano riff and a well defined drum and bass, when guitar and piano end. Well, the song doesn't really sound like Radiohead, it's just an approximation on the kind of guitar you're going to hear. I think that's the main difference, but not only... The important part is that it sounds great, and doesn't sound like anything before. Maybe just "A Whisper" but the song is not continuously like that. It has serious break "wow" moments. Pink Floyd "Dark Side" songs sound more like this.

A bit of news for you. Barcelona premiere for "Viva La Vida or Death and All His Friends" is confirmed by other spanish local media, such as radiostations. Media people will attend, and it seems that a few invitations will be reserved for fans as well. Another hint which still remains unconfirmed though media, is that they're pretending to play in one of the big summer festivals in Europe, despite the main European part (out of UK) of the tour seems to be done towards the end of the year. Your friend and neighbour, locust7

Thanks. I think you're right, and if you excuse me now I will leave, as I think I have no much more information but the one I posted here. Please tell Ian not to name me, or change my nicknme to something else. I don't care what the mnme will be as it should be different.

Melanieau, I spent some time and England, and my written english is good, but I haven't practised to hear or talk with somebody for several years. Anyway, I think I said it's up to you to believe it or not.

No, I was talking about your post, melanieu, edit the word from the country if you can, please, I could get in trouble...

The last three posts I read may be right, and so right I would prefer that you edited your guesses, as where I could be from.

Sorry, I don't want problems, that's what I meant.

No, sorry. I don't want no problems.

I think so, but it's only an opinion, not certainty or a fact, I'm afraid.

No, sorry. I'm not english nor american, and I was more focused on the sound than lyrics, the few times I could listen to. About the double post, sorry about that. Ian maybe can solve it. Oh, Ian, I don't want that my nickname appears somewhere else but in the forum or threads. Please do not post it or name it on the news front page. And if you could change it in this moment I will appreciate it as well.

I can't tell anything more about the way I heard it, I'm afraid. I was advised not do it. Only I will add that overall the song must be around 4 minutes long (but I coudn't check my watch to verify), and sounds stronger ,rockier, blusier, but rougher on the edges. The description of that Rolling Stone writer was accurate, but for the intro part. Eno production fits very well with their sound in this song. About the date, I'll only say soon, and that maybe Msy 5th is accurate in physical release, but you'll hear it before.

I know many of you are not going to believe me, but I've already heard Violet Hill. I'm not going to give away many details of how I did it, only that it was via an ipod, and a few days ago. And I see that everybody is so eager to know, that I think you finally deserved to share this with me. Believe or not, I'm going to give my impressions about it. It's awesome! The lyrics are the part that I can't remember precisely, because English is not my native language. The chorus is the same that Rolling Stone explained. However, the song does not start with the jagged guitar Rolling Stone said, but with an atmospheric intro of about 15-20 seconds very Eno-esque. Then the guitar and piano begin to sound. Their riffs are heavier, faster and louder than ever. I don't think I've heard Buckland studio work this hard (live you always hear it louder and lower), but it's very attractive combined with the piano. Chris voice is his low voice of the Parachutes era, but seems to be just stronger, muscular, not delicate till the end of the song. Not a single falsetto note here. Also, the bass and drum sound different from general past Coldplay songs. Here they define the whole rhythm by themselves, especially Will's work. It's very distinctive and it has an intense effect between verses, and especially after every chorus. You think the drums are going to end, but they follow and remark these moments. You'll recognise very well this part of the song: bam, bam, bam, bam, bam, bam, bam, bam (six or seven times I think). There's an intermediate guitar bridge before the final chorus, a continued riff, in which sometimes I thought of a Pink Floyd Dark Side or Pulse era, atmospheric soundful but at the peaks of the guitar distorted. After the final chorus, there's the end, a coda of 35-40 with Chris only on the piano and singing low. Here his voice is delicate but not mellow. Seems to express he's broken inside, sadder and lonelier than ever, and the song slowly fades after the last word and note and dissapears into atmospheric as well, bringing you loneliness but strength. The structure of the song is very Coldplayish, but the general sound is different, in the way of being more mature, stronger and epic without pretending it (unlike some X & Y songs). The instruments are very well integrated, much better than other times, but in many parts, an instrument carries by itself the song. Eno Production makes them sound louder, stronger but not pretentious. It feels both natural evolution, and I hope for the rest of the songs, seems to announce a more adult themed work and the step beyond we were awaiting. Overall I give it 9,5/10. Ok. That's all folks. As I said, I know some will believe me and some will not. I'll be called liar by some, I have no doubts. But when all of you will be able to hear the song, and it's sooner than you expect, you'll know it's true.

There's a mastering company named Gateway Mastering & DVD. There are two resident sound engineers specialized in mixing and mastering: Bob Ludwig and Adam Ayan. They have received a lot of Grammy Nominations. If you want to visit their home webpage is: http://www.gatewaymastering.com/default.asp

In John Carney's film there's a duo and they record an album (well just a demo) for a few days, and when they finish and mix it, the producer tells them to make a final test: to listen the mix in the speakers of a car to see if it's a good as they listened in the studio. So this means Coldplay have confidence on how the new the record sounds!!!

I know the reason why Chris would tell that "People are going to listen it in their cars". It's evident he has seen the film "Once" by John Carney. Anybody that had watched it would know. I'm sure 100% that "Famous Old Painters" is the title. Let's await official confirmation.

New songs titles. My own analysis Sorry, busybeeburns, posting it here again apart from the poll topic in order that everybody could share opinions. I think the names aren't so important. Take a look at one of the best albums in pop/rock history. The Beatles' Sgt. Peppers Lonely Hearts Band Club. The name itself of the title song or pieces of it as "Being For The Benefit of Mr.Kite!"; "When I'm Sixty-Four" or "Fixing a Hole". That's not the point, it's the feeling of the music and the combined power of the songs. Some people are criticising so much now based on primary information, not really thinking that maybe the titles enclose clues to the songs. It's obvious that "42" relates to the Douglas' Hitchhiker's Guide to the Galaxy as "Don't Panic" did. And if you read that, you will know that is the final answer to everything. "Violet Hill" is the name of a street of London located in the City of Westminster. Is it a remembrance from that place? Or a clinic for the spirit which also in London? This and "Cemeteries of London" could be very expressing their love for London, as they brilliantly did with the homage that the video of "Fix You" represented. "Poppy Fields" could sound as a weak title. But maybe it's ironic. Poppy Fields produce drugs as heroin or opium in countries like Afghanistan. A critic song to War today? Or is it related to "Strawberry Fields Forever" as the title could suggest? "Leftrightleftrightleft" is one of the basic exercises while training for boxing. Knocking out song for something/somebody?. "Lost" or "Yes". They have the mark behind because they are outstanding tracks from the rest? "Rainy Day" is the perfect name for a closing track, and it's the last of the list. I smelt a red herring the first time I saw it! The real question that should be out there, is why the hell in the list there are four names covered in black. Provisional names, maybe? I see no trace of "Bucket For A Crown", "The Fall of man", "Mining on The Moon" or "The Butterfly". These could be the names of the rest of the songs, or mybe a Hispanic name. What do you think? I can distinguish some characters, in the covered names, so maybe if somebody photoshopped the note a little bit, characters could be differentiated, enforcing some scales of grey. Somebody is going to try it? I heard rumours that the band is going to record in Spain again… but this time is not going to be in Barcelona. I can't tell anything else as I don't have strong confirmation on that. I trust very much in the band, but specially with Phil Harvey, Dravs and Eno supporting them. I still don't know if it's going to be good but I believe it's going to be different and unexepected. Just my thoughts. Your friend and neighbour David