ColdplayingfromKansas

Hopeful thought of the day: If Coldplay are taking inspiration from 80's pop like Hunting High and Low, maybe that means we'll get a return to that release style also with traditional b-sides accompanying singles. After listening to the old ARoBttH b-sdes I'm really missing them!

I would be okay with them changing the setlists around since we usually get recordings--we could get new live versions of some old favorites like Daylight or Everything's Not Lost :wacky: . . . And I still want nostalgia concerts with nothing but songs from a single era :snobby:

If there's one thing I'm absolutely certain about, it's that everyone loves Politik :lol:

So . . . maybe news on Monday and a single a week or two after? If memory serves me right, Coldplay likes to give us news at the start of the week when they give it.

Guy's expression always cracks me up :lol:

^ That would give me an incentive to get up early for the first day of class :lol: so I hope you're right!

To put this thread somewhat back on-topic: We've discussed what we want for the overall tone/themes/content of the songs to be, but is there a certain way of singing that you've just been dying to hear Chris try/come back to? For example, do you want more falsetto (Fix You)? More of his lower range (Yes)? Crooning (The Scientist)? Angry and loud (Twisted Logic)? I for one would absolutely DIE if we got a song where Chris sings like he does in Yes--dark, low, sensual. I love it. I want a whole album-full :P I also think it would be interesting if we got him sounding angry, just for something different!

Excellent point. It makes me wonder that, if the guys ever decide to do some nostalgia concerts where they only play songs from Parachutes, ARoBttH, and X&Y, how many of the fans would actually know the songs? Obviously they will still have Yellow, Clocks, The Scientist, Fix You, etc. but other "fan favorites" like Don't Panic, Shiver, Politik, Swallowed in the Sea, etc. might just have people standing around staring at their phones. It makes me kind of sad, because most of Coldplay's best songs are ones that only the very dedicated fans like us know--especially considering their talent with b-sides.

^Admittedly, the record scratch bass drop thing is still pretty awesome. I prefer the live version with Jonny's guitar though :guitarist:

Check out the bands "Brolly" and "Racing Glaciers" . . . They're who I've been listening to lately to get me through this no-news rut :awesome:

To be fair, when we only had that low-quality leak: 1) We had no idea the lyrics were as awful as they are 2) We didn't know that the song was basically just a bunch of synths strung together And yes 3) We didn't know Rihanna was going to be featured, or at least, not to the extent that she sings for the majority of the song Plus, Coldplay's songs usually sound better live, which probably skewed our perceptions a bit as the audience seemed pretty excited/drowned out the worst parts of the song. The fact that it features Rihanna definitely plays a part in why some of us hate it, but I don't think it's the only reason. Speaking as someone who loved PoC when we just had the leak and now considers it to be Coldplay's worst song :P

I know Coldplay has some good upbeat/uplifting songs (Strawberry Swing for life), but I still think the dark/serious songs are where they really shine. Give me an album of Strawberry Swings, Lovers in Japans, and TWTUDs with a Murder or a Violet Hill thrown in there and I'll be happy!

Plus, aside from the occasional short break here or there, the guys have basically been working for 15 years straight now. I think they deserve a hiatus for a few years :P Odds are that we might even get a really, really good album after a hiatus like that, considering that Chris never stops writing songs

I would die if we got a Noel Gallagher collab :wideeyed: But judging from what we've heard about the album and its overall sound, a pop artist seems to be the most likely of anyone. Florence + the Machine would be cool (is she even pop?), OneRepublic or Imagine Dragons might be decent-ish also

These probably won't be in any particular order, but: Up In Flames - So boring, so cheesy, can't stand it. Honestly one of the few Coldplay songs that has no redeeming qualities Princess of China - The lyrics . . . they're so bad I just can't fathom how this made it onto the album. Plus Rihanna, ugh no. The live version with Jonny on the guitar is okayish though. Ink - Suffers from the same problem as Up In Flames True Love - Jonny's riff is cool, otherwise boring Paradise - This would honestly be a fine song if it weren't for the para-para-paradise part Honorable mentions: Pour Me (not sure what it is about this one, just rubs me the wrong way I suppose), Green Eyes (I know, I know)

^ True. I believe it's used as background music at one point on the MX live DVD? Or something like that :thinking:

"Car Kids" was one of the songs during the Mylo Xyloto era that didn't make the final cut (along with Aiko, Alien Radio, Sex and Violence, and several others). For some reason, everyone decided that they really wanted to hear Car Kids in particular and it developed kind of a cult following. The forum has been obsessing over it since then, so mentioning it has sort of become a taboo as a lot of people are tired of hearing about it/know it won't make a future album :P

Oooh I really like Neon Sound as a title

^ Yes, this. The whole Viva era was full of great, unique titles. X&Y had some good ones too. I think MX is actually my least favorite era as far as titles go, but to each their own :P Come to think of it, my initial reaction to song names usually correlates to how I wind up feeling about the songs themselves

I'm thinking something very Viva la Vida-y but with an 80's twist--an upbeat tempo led by a driving piano and bass duo. The whole band comes in singing at the chorus and Will comes in with a cymbal-centered drumbeat in the second verse. Obligatory "oh" thrown in a few times and then after the last chorus Jonny shows up with a marvelous guitar solo that then leads into a full-band outro where everyone is just going nuts, kind of like the ending of Glass of Water right before the final two lines. The song will either have a fittingly bright, happy name ("The Night is for Dreamers" ) or a really dark, misleading one ("In the Black of Night"). It will be about overcoming your struggles to reach your dreams. And, since every album seems to have a few lines that make a lyrical "theme" throughout the record (like feet not touching the ground in Viva), I think the song will make references to "the sun breaking through the clouds" or "finding a light in the dark" or something.

They'll literally drop it live--CDs raining down from the ceiling while they play :nod:

Don't even joke about that :lol:

Speed of Sound was pretty indicative. Violet Hill kinda-sorta, but that's just because Viva was so diverse in its sound I think it would have been hard for any one song to stand for the album. As far as being indicative of quality, definitely. Midnight, ah, no definitely not. And ETiaW was the first single off MX, right? That one was pretty spot-on as well. Adding in Shiver for Parachutes (Theme was accurate, sound not as much) and IMP for ARoBttH (actually one of the weaker songs off that album probably. Overall sound was accurate though) . . . looks like it's a toss-up between the lead single sounding like the album and the lead single not sounding like the rest of the album :P Now the next question is . . . Do we think they'll actually play a new single at the festival? I'd say the timing is about right for them to drop it live and have the studio version available within a week or two.

I agree. I understand them wanting to experiment in an attempt to make their best album, but I wonder by what standards they're judging themselves? Is being "better" having more radio hits? A more diverse fanbase? More record sales? Just making an album that they like to listen to? I feel at this point the guys have been lulled into a kind of safe zone; they still want to experiment but they aren't going at it as fervently as they were with their first four LPs. MX was pop-rock and GS was rock, not exactly risky sorts of albums to make. I think we've begun to see a dichotomy between what the band wants/thinks is good and what the majority of the fanbase wants/thinks is good. That's fine, and I'm not saying that the band should cave in completely to the demands of their fanbase because then they would just turn into The Fray (never do anything exciting, ever), but it's going to leave a lot of people disappointed when their favorite indie rock band suddenly dives head-first into pop. Hopefully, that isn't the case and this is just Coldplay's Pop stage like what U2 went through. :shrug: