blankshore

Well, I don't know exactly :P The whole song to me is just kind of impressionistic, you know? It doesn't strike me as a song that's actually about something, it just kind of captures and evokes strong emotions. That's what I thought footy was saying when he said Chris uses lyrics that have a "meaningless energy." Stuff like "every sermon is a symphony and every tear is a waterfall"--it doesn't really mean anything to me when it's written out like that. But when Chris Martin sings it, it evokes something in me. And I thought that was the point that footy was trying to make--Charlie Brown might not really "mean" anything; it's lyrics might not be "about" anything. Chris may have chosen those words simply because they have an evocative energy to them that fits the song. And the more I think about it, the more I think that might be the case.

This is probably the best point that anyone has made in this thread. Teardrop is certainly evidence of this, so you could very well be right.

I see what you're saying (and I'm interested to see if the Peter Pan themes run throughout the album. I didn't catch the connection between the ticking crocs and the lost boys!) but just because Chris Martin is a nice guy with kids doesn't mean he doesn't do drugs. You've heard of this band Animal Collective, yes? They're all perfectly nice people who have kids and, quite unfortunatley, are pretty open about their drug use. And it doesn't mean that Chris has never done drugs at some point during his life. If this song does represent some time in his life, it's certainly not the present. Every song we've heard on this album seems to embody that sense of youthful rebellion (and for a lot of kids, being "rebelious" means doing drugs), and this song is no different. The only song so far that sounds like its told from an adult perspective is Major Minus, which is the odd song of the bunch, in that it really isn't very odd from a musical standpoint. I'm not saying that Coldplay are a bunch of druggies--I hope they're not!--I'm just saying this song sounds like it has some references to drugs.

I think that if these are drug references then this is going to be a pretty personal album, because this is definitely a side of Coldplay that we haven't seen before (at least not as vividly as this). After hearing Teardrop I was worried that this was going to be one of these U2-esque "Let's all hold hands and unite against the man!" kind of albums, but I'm wondering now if Teardrop is even going to be on it. If it is, I suspect it'll be towards the end of the track-listing because it seems like a resolution of the conflicts that Charlie Brown raises.

Not to mention "All the highs, all the lows, all the madness that occurs...my scarecrow dreams...we'll start glowing in the dark." IDK, I don't really know anything about drugs and Coldplay doesn't seem like the kind of band, but given the first line of the song, the imagery seems kind of hallucinatory to me.

The vocal melody and lyrical structure are ripped straight from LCD Soundsystem's "All My Friends." How does no one hear this?

It can also be roughly translated from Taiwanese to mean "In Rainbows."

When they did this song live Chris' vocals sounded very Win-Butler-y, which lead to those weirdly harsh comparisons in that RS review. But this studio version sounds really different; it's soothing and cathartic whereas the live renditions sounded kind of angsty (especially with the lyrics having very strong drug ties). In any case, this song is fantastic. Now if they can only make Hurts Like Heaven sound significantly less like All My Friends.

You guys know that they gave Kanye's MBDTF a 10 and his new collab with Jay-Z an 8.5, right? They're not anti-mainstream, they're just not big on Coldplay. I don't see why this is front-page newsworthy. They have different taste than most sites. That doesn't make them pretentious.

Everybody is biased. We're human beings. A critic's job isn't to be perfectly objective; music isn't objective to begin with. So I resent when people complain about scores they don't agree with by calling a critic "biased." It's meaningless. Critics are paid to articulate their opinions and analyses. You don't have to agree with them. Besides, everyone knows Weezer is absolutely terrible now :p

If the King of Limbs got a 7.9, Coldplay is in trouble :p I love Pitchfork but I wish they'd stop putting scores on their reviews. It's such an arbitrary and confusing system, and it distracts from the reviews themselves. Kill Screen just stopped scoring games and I think it's a much better way of doing things.

Teardrop was SUCH a poppy song, so I have to think that Paradise will be at least somewhat less straightforward.

To be fair, I really didn't care for Violet Hill until Viva la Vida came out and I was able to hear it in context. Teardrop is a good song, so maybe after I hear it on the album I'll walk away thinking of it as a great song.

They pretty much came right out and said that it's not going to be on the new album, which is tragic, because I think it's easily the strongest song on the EP, while Major Minus isn't nearly as dark or sinister (or good) as Chris thinks it is.

Well I suppose now we definitely know for that it will be on the album (the Billboard article confirms it). It's a good, fun listen, but not a particularly astounding song. But in Coldplay's history, their album's lead single is neither the new album's best track nor a good indication of the new album's musical direction. (Yellow, In My Place, and Speed of Sound are all poppy, upbeat tracks on otherwise dark and moody records, while Violet Hill is just the opposite).

I'm enjoying this EP, even if it is only 3 songs. Every Teardrop is a Waterfall is obviously a fantastic tune, and even though the lyrics are pretty trite, I think the mixture of synths and Strawberry Swing-like guitars really exemplify the colorful graffiti vibe the band seems to be going for. Major Minus is a fun little throw-away jam, but I hope its not a huge indication of things to come. It's just sort of an obvious rock song that doesn't seem to have that "coldplay" stamp on it. Feels a bit like anyone could have written this song, you know? March to Mars is easily the strongest track here. Brilliantly creepy piano and vocals--sounds like Chris crawled up to a piano after getting piss-faced drunk and did this one (I'm sure he didn't actually do that, but it does evoke that imagery) which is really different for them. The climax isn't terribly memorable, but then again I've only listened to it a few times.

I haven't posted here in god knows how long, but I had to say how much I enjoyed this post. I've always hated the lyrics to this song, but I think you really nailed what they were going for here, and it's helped me enjoy the song more :)

I edited my list because I forgot something important--Belle & Sebastian. 1. Radiohead: Kid A 2. Radiohead: In Rainbows 3. Arcade Fire: Funeral 4. Coldplay: Viva la Vida 5. Animal Collective: Merriweather Post Pavillion 6. Vampire Weekend: Vampire Weekend 7. Radiohead: Amnesiac 8. Coldplay: Rush of Blood to the Head 9. Thom Yorke: The Eraser 10. Phoenix: Wolfgang Amadeus Phoenix 11. Sufjan Stevens: Illonois 12. Radiohead: Hail to the Theif 13. Modest Mouse: The Moon and Antarctica 14. Beck: Modern Guilt 15. Belle & Sebastian: The Life Pursuit 17. Interpol: Turn on the Bright Lights 18. Coldplay: Parachutes 19. U2: All that You Can't Leave Behind 20. Fleet Foxes: Fleet Foxes

Well In Rainbows deserved to win two years in a row if you ask me:cool: I was just wondering why they had to specify that you could vote for In Rainbows in the rules. I don't come around here too often so I'm not in on all the inside jokes.

Can someone please explain the in rainbows thing for me?

Why on earth wouldn't I be alowed to vote for in rainbows? Inside joke, I'm guessing. Well anyway, it's a good thing I can because... 1. Radiohead: Kid A 2. Radiohead: In Rainbows 3. Arcade Fire: Funeral 4. Coldplay: Viva la Vida 5. Animal Collective: Merriweather Post Pavillion 6. Vampire Weekend: Vampire Weekend 7. Radiohead: Amnesiac 8. Coldplay: Rush of Blood to the Head 9. Thom Yorke: The Eraser 10. Phoenix: Wolfgang Amadeus Phoenix 11. Sufjan Stevens: Illonois 12. Radiohead: Hail to the Theif 13. Modest Mouse: The Moon and Antarctica 14. Beck: Modern Guilt 15. Beck: Guero 17. Interpol: Turn on the Bright Lights 18. Coldplay: Parachutes 19. U2: All that You Can't Leave Behind 20. Fleet Foxes: Fleet Foxes

Jonny's guitar (are there any other dudes on this site?) or Jonny's hat?

Could be good in a comedy? He was fantastic in a comedy! Hasn't he seen the Extras episode with Chris Martin?

:lol:

Being the new Roadie #42. I personally don't find anything he writes to be particularly well written or interesting. I think I could do a better job (not to toot my own horn :p) Being the new Roadie #42 or going on a weekend camping trip with the band.