mrman78

I'm hoping Charlie Brown will be the next single though as POC just feels too similar to the first two singles and doesn't really fully represent the whole album. Charlie Brown is not as dancey/RnB.

I think that was just Billboard presuming. I don't believe it's happening. However, based on the fact POC is so high in the charts and not even a single, it'll probably get released eventually. I'd prefer Charlie Brown since I feel that along with the first two singles is more representative of the album as a whole.

I prefer the vinyl one as it's a combo between the two CD versions! :D

I have now! And I agree, it's definitely vying for a place somewhere in the upper ranges of my Coldplay album rankings.

Haha, one reason I posted it! When I first read it, I was like :wtf: but it has some good points. It's like a philosophy paper on Coldplay or something! :lol:

Ha, thanks! ;) ...and I did! :awesome:

I posted this earlier! ;)

Wow. I am really shocked how much I like Mylo Xyloto. I think all the negative talk on here the last few months made me feel apprehensive towards the album to be honest - I wasn't really sure how to listen to it for the first time. I am very glad that I did not listen to the leak or listen to the entire album before I had the 320 kpbs official version. The first half of the album I was mostly familiar with due to the singles, live versions and the side A sampler. The only song on side B that I had heard was Major Minus. Obviously, the second part of the album was what I was looking forward to the most as it was mostly new, unheard Coldplay! I can definitely see why this album has fans divided. It is a new sound for Coldplay in terms of production and direction. However, there are many tracks where 'early' Coldplay is still there, just under new layers. Utimately, I gave the album a 9/10, which surprised me. I do truly feel it deserves it though. It is a good mix of all the previous albums, while still moving forward. Mylo Xyloto: Just beautiful. I love this as the opening track and the transition into Hurts Like Heaven. Although, I am with others who have said it's hard to listen to just MX or HLH by themselves... Hurts Like Heaven: Probably the track I was most fearing as I love the live version and people were saying it was so different on the record. I was pleasantly surprised that it did not crush my enjoyment of the track! I LOVE this song! Yes, it is a bit over-produced, but I also think that makes it interesting. There are so many sounds and layers to the track that a good set of headphones brings out. Paradise: No surprises here. The second single. It's definitely a grower. I liked it when I first heard it, but the introduction is just fantastic the more I listen to it. It fits so well on the record now I have heard it in context. Charlie Brown: This is my favourite track on the record. It is such a great track and should definitely be released as the next single! The piano part at the end is just fantastic. This will be a big hit and crowd-pleaser! Us Against The World: LOVE! This is such an amazing song! I adore the introduction. I loved this track live and this version just makes it all the better. Only quip is I wish Will's duet portion was more pronounced. The first song on the record that sounds like 'early' Coldplay material. M.M.I.X.: This instrumental makes Every Teardrop Is A Waterfall flow within the context of the record. If this was not here, it would be such an abrupt change from UATW. Every Teardrop Is A Waterfall: Again, no surprises. The first single and a really upbeat and optimistic song. It is pretty dancey for Coldplay, but it's a great song nonetheless. Major Minus: I had already heard this from the Every Teardrop Is A Waterfall EP. It's a fantastic track and really like it. I would have preferred less distortion on the verse vocals, but Jonny's guitar solo is awesome! U.F.O: This is such a lovely acoustic track and reminds me so much of 'early' Coldplay. The melody is great, but I just wish it was a tad bit longer. Princess of China: I was really surprised by this one! First, Rihanna being on the track is strange, but it works somehow. I think this might be one of her better vocal performances. The song itself is very RnB to me, but I do like it. I am surprised to be honest as I was going in thinking I was going to really dislike it, but I think if this is released as a single, it will probably be a big hit. Up In Flames: I really didn't think I was going to like this song. I had heard a clip of the Austin City Limits live version and it just didn't do anything for me. However, within the context of the record and with the added production, I think this is a great track. Again, it reminds me of 'early' Coldplay and is a welcome addition to the record. A Hopeful Transmission: Probably the best instrumental on the record. It flows so well into Don't Let It Break Your Heart. Don't Let It Break Your Heart: Wow. One of my favourite tracks! As with Hurts Like Heaven and Major Minus, I wish there wasn't as much distortion on Chris' voice, but really that's the only negative I see on this stellar track! Up With The Birds: A fantastic closer! Again, like 'early' Coldplay but with a modern twist. It starts so atmospheric, I had no clue what direction it was going to go! It's a beautiful track and such a great way to close the record!

How Coldplay Became Possibly the First Band to Be Humanized by a Concept Album The band Coldplay has spent its career practicing one mood, over and over, and getting very good at conjuring it. The mood in question involves heroic uplift, or possibly hearts full to bursting with vague positive emotion. There's something a bit triumphalist or even militaristic about it — recall the drum-banging and uniforms of "Viva la Vida," or the band's rather bizarre and ongoing interest in revolutionaries. One tends to imagine some kind of parade where people throw thousands of flowers and miles of ticker tape out of apartment windows at soldiers returning victoriously from a confrontation that wasn't all that violent. The sound is equal parts pomp and tenderness. It feels a bit stirring, but in the end it's mostly comforting; the band has managed to combine two things that should be at cross purposes. Apart from that, well, Coldplay deftly avoid doing too much of anything you might be tempted to comment on. For much of their career, they actually made that habit seem clever, even generous; their songs stripped English pop-rock down to such a bare essence that the music was hardly even there, and the only things imposed on you were a melody, a dollop of mood, and the aforementioned soaring-pomp thing. This was not remotely a bad formula, especially given Coldplay’s way with a melody — it was, at the least, world-conquering in terms of sales and tended to produce cozy, absurdly hummable singles. On the other hand: I use the word "imposing" because that actually seemed to be the mentality behind a lot of the band's writing, especially once the world-conquering started. It was as if they worried that any commitment to doing anything too particular would be selfish, a form of bullying or trying the patience of fans. Coldplay are a bit too bashful to really advance any ideas, so they tend to wave their hands in the direction of ideas you already recognize and work from there. They like to sound grand, but they don't want to be too overbearing about it; so they write songs of a grand type, then pull enough punches to leave behind mild pomp. They like to sound dreamy, but they don't want to get too atmospheric and lose your interest; so they record down-to-earth songs and sprinkle them with dreamy accessories. They'd like to be a little cool, but they certainly wouldn't want you to think they think they're cool. It's a wonder we even get to hear their music — everything about their demeanor makes you imagine them standing around the Parlophone head office telling everyone no, really, let's not release these songs, we wouldn't want to bother anyone. If you are part of that minority for whom the joy of modern music is being able to seek out endless acts who will impose really specific aesthetic ideas on you, then this is bound to seem like a massive problem. Which will be fine, because you are probably not part of Coldplay's intended audience. But the truth is that many listeners really do appreciate music that is agenda-less, stately music that conveys mood and emotion but doesn't much bother you with style, music that fills a room with the anticipated sounds and is not part of any hobbyist's search through a world of options or aesthetic politics. I mention all this because on their new album, Mylo Xyloto, Coldplay are trying to do something specific. The basic Coldplay formula still applies, obviously. It's all sparkly mid-tempo pomp, all the time. The melodies are forever grounded in eighties pop, the presentation in nineties pop-rock, the production in the aughts' digital gloss. They're still not entirely able to decide whether their obligatory interest in electronic music is an interest in art and the underground (the way it is for their peers in Radiohead, whom they do a funny imitation of on "Major Minus"), or an interest in sounding like the rest of the pop charts — though the big European synths, guest vocals from Rihanna, and thick coats of studio sheen on this album suggest they're coming to an answer on that question. No, the big thing here is that they've made a concept album. A grand, synth-augmented concept album about two people finding love in some kind of authoritarian dystopia, in which there exist bands of people called "the Lost Boys" and "the kids" feel the revolutionary power of music and love and the phrase "it's us against the world" appears on various tracks — in other words, the kind of concept album you'd expect a rock band to have made sometime between 1978 and 1984. One almost wishes Coldplay had hired whoever did the cover art for all those Journey LPs. One almost wishes they'd hired that person not just to design the cover art, but also the set for an accompanying musical. Because it turns out there's a zoomy theatricality to this stuff that's actually pretty cool — possibly even charming to rock geeks. It wipes away all worries about whether the band's getting overblown. Coldplay is not a band that winks at you about anything they do, but the concept here is quaint enough to feel playful. It even seems to translate something for the benefit of those who never really "got" the level of craft involved in the band's world-conquering period — turn the whole exercise into a stagy fictional narrative, and it's a lot easier to understand the kind of audience-pleasing grandeur they’re truly good at. Besides which, that one mode they won't ever step out of — the pomp-and-tenderness thing, the doe-eyed soaring, the vaguely militaristic uplift — makes a lot more sense if you imagine listening to it while falling in love and revolting against some kind of shiny, retro-futuristic, eighties-inspired, techno-authoritarian dystopia. So here — at least for the time being — is the sound of Coldplay secretly doing something, even if it's restrained enough that the average fan can safely brush over it. http://nymag.com/daily/entertainment/2011/10/coldplays_mylo_xyloto_reviewed.html

:lol: Kelly Clarkson vs. Coldplay: Whose new album will be huger? Is there some sort of new feud I don't know about? Anyway, here's a hint: Yes, both artists are huge, and both have albums debuting today. But one of these parties is way out of the other's league. Can you guess which one? Yes, Kelly Clarkson still has the insta-audience that she earned from her 2002 American Idol win. She also has a history that includes at least one No. 1 album and the rather quaint advantage of actually being able to sing. Still, she is no match for Mr. Gwyneth Paltrow (aka Chris Martin) and his merry band of stadium legends. It's too soon to predict precise sales, of course, but, as Billboard Associate Director of Charts Keith Caulfield tells me, "it's assumed that Coldplay will be No. 1 and Kelly will be No. 2" on the album charts this week. It's not personal. It's just that Coldplay is a monster. Their last album, which came out in 2008, sold a whopping 721,000 copies in its first week, according to Nielsen SoundScan. And, yes, that's considered way good. Sure, we do still witness the occasional album selling more than a million in its first week, such as L'il Wayne's Tha Carter 3 from 2008. But that doesn't make sales of Coldplay's Viva La Vida any less admirable, especially in this economy. Meanwhile, Clarkson. Her last album, released in 2009, sold 255,000 copies in its first week. Like Viva La Vida, All I Ever Wanted debuted at No. 1, but her sales weren't exactly in the same league as Coldplay's. Her new single is doing fine, but, as Caulfield puts it, "it's not exactly setting the world on fire," hence the prediction for a No. 2 album chart debut. So why the big difference in sales? Simple. Like I said, Coldplay is a monster. "Coldplay is a stadium-selling rock band that is part of the same family tree as, say, U2," Caulfield explains. "They're a consistent 'album act,' a group that's more about a full album experience than selling individual singles or tracks. Kelly is just in a different category." And, really, given how many fans Clarkson still has, No. 2 isn't bad. So, which album are you most excited about? http://www.eonline.com/news/ask_the_answer_bitch/kelly_clarkson_vs_coldplay_whose_new/271251#ixzz1bjz4EjTZ

Coldplay, Mylo Xyloto * * * (out of four) ROCK Coldplay leader Chris Martin has been of several minds when describing the inspiration for Mylo Xyloto, the band's embraceable fifth album, out today. STORY: Coldplay approaches 'Mylo Xyloto' as a clean slate At times, he has said he took songwriting cues from anti-Nazi movements, totalitarianism and '70s graffiti artists. At other times, he says this is simply a song cycle depicting two young lovers swallowed up in a cold city. Turns out he was being pretty straight: Thematically and musically, Mylo Xyloto does come across as a medium-weight and up-to-date blend of middle-period U2, the Beach Boys' Pet Sounds and Coldplay's last three albums. Co-producer Brian Eno, who oversaw 2008's Grammy-winning Viva la Vida or Death and All His Friends, returns and adds some faintly exotic Middle Eastern and electro-pop sounds and even a danceable rhythm or two. Martin strikes a lightly defiant tone early on in Hurts Like Heaven when, against a surging beat, he sings, "I struggle with the feeling that my life isn't mine/Tonight the streets are ours/And we're writing and saying/Don't let 'em take control.'' And he warns in Major Minus that "they got one eye watching you … so be careful who it is you're talking to.'' But that's about as deep as the songs probe, politically. The remainder deal with escapism and tormented romance. First single Every Teardrop Is a Waterfall celebrates taking refuge in music, while in second single Paradise, a young woman finds her release by dreaming. Those tracks and Hurts Like Heaven showcase what the band does best: using seductive, soaring melodies as platforms for Martin's earnest vocals (his falsetto is gorgeous here) and swelling keyboards, Jonny Buckland's chiming guitar, and anthemic "whoa oh-oh" choruses. The breakup songs are less engaging, save Princess of China, in which Rihanna, in a heartfelt been-there performance, laments, "Once upon a time we burned bright/Now all we ever seem to do is fight/On and on, and on and on and on.'' Martin and mates aren't ones to send listeners away feeling put-upon, so they wrap things up with the reassuring (and precious) Up With the Birds, which predicts that "Good things are coming our way." >Download:Paradise, Every Teardrop Is a Waterfall, Hurts Like Heaven, Princess of China http://www.usatoday.com/life/music/reviews/story/2011-10-24/coldplay-mylo-xyloto/50886022/1

Yeah, Paradise dropped to #11. Still, seven songs are still in the Alternative songs chart and MX is still #1 in both album charts! :)

I haven't, but I'm about to!! :awesome:

I got something about the file not being encrypted or something and just hit 'OK' and it extracted just fine. Soooo happy to listen to it soon!

In regards to Paradise, one is the single and the other is the album track...

Yay! I'll tune to this on my way home tonight then! :thumbsup:

Welcome! :D Lol, looks like some of the positions have already changed since I posted and Hurts Like Heaven knocked Clocks out of the Top 10!

MX is #1 album in iTunes and Alternative album charts Paradise is #10 in iTunes song chart and #2 in Alternative song chart Princess of China is #24 in iTunes song chart and #3 in Alternative song chart :shocked2: All five Coldplay albums are in the Top 10 of the Alternative album chart: MX: #1 X&Y: #5 Parachutes: #6 VLVODAAHF: #7 AROBTTH: #8 Seven of the songs in the Top 10 of the Alternative song chart are by Coldplay: #2: Paradise (single) #3: Princess of China #4: Paradise (album) #6: Fix You #7: Charlie Brown #8: Viva La Vida #10: Clocks Phew!! :awesome:

@ #24. Interesting as it's an album track. It's also #3 behind Paradise in the Alternative songs Top 10 (7 coldplay songs in this top 10 lol). I guess the curiosity of Rihanna paired with Coldplay paid off as they wanted...

YAY! Email finally arrived!

I just got the email, so they are starting to send them out Stateside. Go check your email everyone! :awesome:

Just got the email! Go check your email peeps!! :thumbsup:

Just got the email aswell!! I still have to wait to get off work, but at least it's waiting for me when I get home! :awesome:

^ Yes.

:thumbsup: Plus that way you always have a back-up tucked away with your vinyl should you ever lose, damage or maybe just play the other one so many times it actually wears out! :awesome: