blankshore

:lol: Of course

This is insulting, frankly. I don't like Paradise because I tried so hard to like it. In fact, as a big Radiohead and U2 fan, my instinct is to question everything they do. I simply heard the song and thought it was great. The fact that you insinuate that everyone who likes this song only likes it because of some kind of pavlovian fanboyism is ridiculous. I'm allowed to like things you don't like. You're allowed to like things I don't like.

Much appreciated :) I'm really glad I was able to find some fans of the song with this thread--I was honestly worried there were none :shocked2: I think people are going to warm up to it once they hear it in the album context.

Yeah totally...I'm too fragile to accept Coldplay's failure, so I deluded myself into liking their new song. Nailed it.

I never intended to pass this off as anything other than my own interpretation. I think I described my original post as "scattershot opinions" so there you go. I also realize that this isn't going to change the minds of people who don't like the song. That would be pretty silly of me. I just thought that the song merits a discussion a bit broader than "this song sucks" or "this song is awesome." My bad about calling it "Move to Mars." In the song he says "Maybe move ourself to mars" so I forgot about the ing.

Can I be Ellen Page?

Crap dude, that's an awesome post. That last paragraph about the happy couple...YES! I like it! I think you just forced me to actually like Major Minus :shocked2:

For some reason "creative mess" is the term that keeps coming to mind when I hear these new songs. In a good way. That's what I loved about the Prospekt's March EP--it was so all-over-the-place. I read a comment on here where somebody said that every song from MX sounds like it goes against every creative inclination Coldplay has...and I don't think that's true. I think it goes against every inclination that we have as Coldplay listeners. But this ambition has obviously always been there. If you've ever listened to their B-Sides (as I'm sure most people here have) you know there's some pretty out-there stuff, even in their earliest days. I just think there's no longer any fear in putting that out-there stuff...well, out there. That's what's different.

Ha! Thanks, guys. I felt the need to say something positive after that dishearteningly lengthy compliation of hatred on the front page of the site :p EDIT: JesseSleeP Hey, I hear ya. Everybody here loves Major Minus and I think it's garbage. I can't make people like a song that I like. I just think this song has some serious merits, and I don't think its fair that pretty much everybody defending it has been dismissed as fanboys/fangirls. I do think a lot of these songs are going to be better in context, though. I remember really hating Violet Hill when it first came out, but after hearing it a few times in its place on the album I found it to be one of the strongest tracks they've ever done. So you never know :)

Thanks :) I've been thinking about this song all day...and when a song makes you think for a whole day, that's got to be a good sign, right? I think my theory makes sense given its context in the album as well. Coming right after the extremely visual Hurts Like Heaven and before the bittersweet Charlie Brown, Paradise helps create a sense of conflict before the first half's resolution, which is Every Teardrop is a Waterfall. It seems like they've put a lot of thought into the tracklisting, which I like. A track list can make or break an album, as they found out with X&Y.

If they wanted to sell a lot of records, yes. Charlie Brown should have been the second single. If they wanted to stop people in their tracks and say: "what the heck is this?" then they made the right choice. I'm glad they picked the latter.

Some scattershot opinions that didn't seem to fit in anywhere else: When I read the Bilboard interview that Move to Mars was unlikely to make the album, I was crushed. When I saw the tracklisting and saw for sure that it didn't make the cut, I collapsed completely. What made Move to Mars so damned compelling was how atmospheric it was--it sounded like Chris had crawled over to a piano in a drunken state of depression and banged this out in one take. It sounded like a man on his last whim, barely concious enough to understand what he himself was saying. It was different, haunting, yet climactic; the ugly, drunken cousin of Fix You. In the midst of poppy, melody-driven songs like Every Teardrop is a Waterfall, Charlie Brown and Hurts Like Heaven, this song was necessary. Without it, I didn't see how the album could succeed. Then I heard Paradise, and its arguably more haunting than the track it (in my opinion, obviously) replaced. Paradise is what Cemetaries of London wanted to be; but whereas Cemetaries had to resort to the imagery of graveyards and witches to evoke an emotion that mildly resembled unrest, Paradise does so with more narrative-driven lyrics with a female protagonist that on paper appear to be pop-friendly and uplifting. They aren't. When that thunderous synth comes in and the band starts chanting "It should be Para, para, paradise" it doesn't sound like an attempt at a sing-along chorus. It sounds cynical, like the band is angrily aware of how ridiculous it sounds. If you read the lyrics out of context it almost looks like the words to a school-yard chant, and the band sings it like one. The repetitive tale of this girl sounds like a cautionary one rather than an inspirational one. Coldplay released this song because they felt that it didn't sound like a typical lead single, and I think they're definitely right. I'm baffled that people are dismissing this as a poppy cash-grab. This song is angry, haunting and vaguely cynical. It's accomplishes with swirling violins, hip-hop beats and thundering synths what Move to Mars did with quiet piano and enebriated vocals. This isn't the Coldplay we knew in 2000. This is a creative mess. And its supposed to be. Its one of the most interesting songs they've ever done.

You're in the minority, but you're not alone. I think the chorus is fatastic. It's euphoric! Orgasmic! Fantasmagorical!

This is an absolutely ridiculous statement that I will not dignify with a response. ....CRAP! Alright, I'll bite. The King of Limbs, like Kid A, is an album and it was meant to be listened to as such. It was never meant to be a collection of stand-alone songs. Songs like Feral and Morning Mr. Magpie work because of what they add lyrically and compositionally to the album. Also, Give Up the Ghost is better than any song Coldplay has ever done. How's that for an obnoxiously ridicuous statement? ;)

I agree. I think they intentionally released a track that wasn't the strongest, catchiest track on the album. People need to accept that they're not going to do ROBTTH again. They're doing their own thing now.

I'm shocked at the negative reaction, frankly. Coldplay have always changed their sound from album to album, and I find this new sound exciting. I couldn't stand the idea of them doing something that sounds like "old Coldplay" again. Because "old Coldplay" is...well, very much like OK Computer-era Radiohead. Coldplay finally sounds like a band doing their own thing, and I'm shocked more people aren't being supportive of that.

I really dig it :) The lyrics aren't the best (though not as bad as ETIAW), but I'm a fan of the atypical composition, and the chorus is explosive and incredily catchy. I'm really interested to see how all these hip-hop influences pan out. Seems to work with Paradise.

Darren Lamb: idiot beaurocrat, yet honest. Doctor, let's inspect benign, yucky hemorrhages. Dogs lick in between your holes.

Dude! Let's introduce Bob, your husband!

The only thing I'm disappointed with so far is the blatant rip-off-ishness of Hurts Like Heaven (ripping off All My Friends by LCD Soundsystem). They really need to tweak the lyrical structure or they'll have another lawsuit on their hands.

I mean it's a good song, but they either need to make it a more obvious homage, or just rewrite the parts that sound blatantly ripped off.

IT WAS A SA-A-A-A-AAAAD! A SA-A-A-A-AAAAD! (followed by a kickass drum solo by Will Champion and backing vocals: "Every happy, every happy. Every happy is a sa-a-aaad! Every happy, every happy. Every happy is a sa-a-aaad!"

Maybe the boys just threw some scrabble tiles at a wall and decided to just roll with whatever came up.

Yep that was my first instinct! I don't think it's fair to judge the song off of such crappy quality youtube vids, but I'll at least say this: for them to even attempt a song like this is pretty damn ballsy. I mean it's not even a Coldplay song. It's this weird, beat-heavy, borderline-dub-step...thing. I'm not sure if this is a good song yet, but it certainly is an interesting song and that's a good sign at this point :wink3:

Wow, I guess I'm the odd one out, here. In my opinion the song absolutely does not have the edge the band is looking for and the main guitar riff and vocal effect is the only thing the song has going for it :p It's just so obvious, musically. I like the lyrics, I like Chris' snarly vocals, I like the opening riff. But for some reason it just doesn't come together to me in a meaningful way. It sounds insincere and too radio-friendly for its own good. I think this is supposed to be a really angry song, but for some reason they're holding something back. It's not terrible, it just sounds unfinished. Like a rough draft of a potentially awesome song. Definitely my least favorite song from these sessions. EDIT: Also, I'm kind of surprised at the Radiohead comparisons. I don't hear it (and I fancy myself quite the Radiohead fan ;) )