gai

now let's even out that over the top positive review with an over the top negative review: Album Review: Coldplay – A Head Full of Dreams Despite having a head full of dreams, Coldplay have released their most bland album to date, filled with a tepid and uninspiring collection of songs that lack any form of imagination and depth. By Lewis Norman - Coldplay A Head Full of Dreams 4 December 2015, Parlophone/ Atlantic Jangling chimes, polyphonic rhythms and gentle guitar lines: I’d almost forgotten, during the first thirty seconds of A Head Full of Dreams, why I disliked Coldplay so much. Unfortunately, the limp croon of Chris Martin kicks in and I’m soon reminded. Arpeggiated rhythms on the electric guitar make up the crux of A Head Full of Dreams, arguably the closest they’ve been to U2 in years. Unfortunately, they might be similar to U2 on paper, but they don’t quite reach the sweltering choruses and bombastic vocals that make them appealing. It’s all a bit tame: U2-lite, shall we say? This is most noticeable on ‘Amazing Day’ which, other than having a terrible title (sounds a bit like a shit Christian-rock anthem, doesn’t it?), has a breakdown about three minutes in that should be uplifting and shiver-inducing. It’s not; in fact, it is laughably lacklustre. I wonder when people are actually going to realise that he doesn’t have a good enough voice to pull it off. Perhaps, it is more frustrating knowing that this is a collection of songs produced for arena performances and I’m not sure I can see them fulfilling that purpose either. WHAT ARE YOU DRUNK AND HIGH ON CHRIS, ORANGE JUICE AND PARACETAMOL? Furthermore, on every single Coldplay album, they seem to have that ‘moment’; that ‘moment’ that almost makes you forget how lame the rest of the album has been so far. On X&Y, the fragility of ‘Fix You’ was something we’d never heard before. On Viva la Vidaand Death and All His Friends the ingenuity of the title track was enough to detract from the identity crisis that the rest of the album seemed to be undergoing. A Head Full of Dreams lacks such a moment. The lead single ‘Adventure of a Lifetime’ has a slick, Two Door Cinema Club-esque riff but it never blows you away. It’s actually quite a serious issue for Coldplay, if they can’t churn out a massive hit every three years then what can they do? From a lyrical perspective, it’s not all bad, but it isn’t great. But, maybe, that’s because we don’t really get an impression that Martin means what he’s saying at all. “I’m feeling so drunk and high” from ‘A Hymn for the Weekend’ doesn’t really sound genuine when it comes out of his mouth. What are you drunk and high on Chris, orange juice and paracetamol? It’s not really a voice that speaks to any generation, he just sounds a bit ridiculous. I really wished, and I mean this genuinely, that I’d be able to say that Coldplay had restored some of what made their first two albums incredible. I would have liked to say that Coldplay had managed to create a good pop album, even if it wasn’t to my taste. I can’t say either of these things. A Head Full of Dreams is the most tepid and uninspiring collection of songs that Coldplay have released to date. Here, we have the first Coldplay album to date for stay-at-home mums to reject on the grounds that it just isn’t cool enough. 1/5 *s x

how AHFOD is seen by a critic that loved princess of china: Maybe Coldplay still matters after all BACKBEAT “A Head Full of Dreams” by Coldplay 4.5 stars "A Head Full of Dreams" by Coldplay (Photo: Submitted) OK, Coldplay; you have our attention again. A few years ago this critic panned Coldplay’s “Mylo Xyloto.” It was disappointing after 2008’s brilliant, progressive and diverse “Viva la Vida.” By contrast, “Mylo Xyloto” was back to the same-old, same-old with one strong exception: “Princess of China.” That track, featuring Rihanna, was an entirely new side of Coldplay — a pop-friendly Coldplay that saw the band forgoing the shackles of trying to become the next U2. Back then, this critic really liked “Princess of China” and hoped Coldplay might pursue that direction in the future. That hope remained alive with 2014’s placeholder album, “Ghost Stories.” There wasn’t much to “Ghost Stories.” The atmospheric, even etherial songs were definitely a departure from the stereotypical Coldplay sound but it was a quiet album that didn’t call attention to itself. Yet songs like “Magic” offered hints of changes to come. Now with the release of “A Head Full of Dreams,” Coldplay picks up where the buoyant “Princess of China” and the understated “Magic” left off. This is not a rock album. In fact, frontman Chris Martin was recently quoted in Rolling Stone as saying, “I don’t think we really are a rock band.” Whether Coldplay is still a rock band or not, this is not a rock album. It’s a pop album. And it’s a fantastic one. There’s something colorful about “A Head Full of Dreams.” It’s fitting that one of the tracks, the untitled ninth track, is simply represented on the back cover as a spectrum of color. The music here seems to shimmer with a variety of hues, just as the multicolored lyrics seem to glow from the black background of the liner notes. The title track kicks off the album with that signature big Coldplay sound — the sound that made songs like “Clocks” and “Speed of Sound” such big hits — but it’s different. Rather than anthemic rock, it’s more of an upbeat pop sound. Sure, there’s a little rock ’n’ roll riff in there but there’s more of a funk sound to Jonny Buckland’s guitar, like what Daft Punk did a couple of years back. Similarly, Guy Berryman’s funk bass drives “Adventure of a Lifetime” behind the synthesized vocals, Will Champion’s thick beats and a flurry of sounds where it’s difficult to tell if they are created by electronic or organic means. “Army of One” is perhaps the best example of marrying the traditional Coldplay sound with the new direction. Martin’s voice still soars as it did on the best tracks from “A Rush of Blood to the Head” but it ventures into new territory like Coldplay did with “Viva la Vida” and puts a perfect little pop cherry on top to bring it full circle. If you want to lend an air of pop credibility to your album, it helps to bring Beyoncé in to sing on a couple of tracks. That’s just what they do here with the club jam “Hymn For The Weekend.” Her voice melds perfectly with Martin’s as they lay down some soulful vocals over some sick dance beats. Beyoncé also joins Martin and a few more singers for the chorus of “Up&Up,” another track that finds that perfect mix of old and new. It has that “taking-on-the-world” vibe of an Imagine Dragons song without getting too caught up in its own ambition. Then Oasis’ Noel Gallagher pulls out a killer guitar solo to bring it all home. While the chiming keys on “Birds” sounds vaguely like the Coldplay of yesteryear they are more effervescent. Notes flit by like they’re the song’s eponymous flying creatures and rather than his signature soaring vocals, Martin approaches the lyrics almost like a rapper, rhythmically singing, “So start falling in love / Start the riot and come on / Rage with me.” That “Scientist”-like sad-sack balladry we all loved a decade ago hasn’t completely disappeared though. Martin’s piano tugs at our heartstrings on “Everglow” (featuring backing vocals by his ex-wife, Gwyneth Paltrow) but by the time he gets to the chorus and a subtle beat joins in, it’s clear that this is a very different type of ballad. Martin seems to even reference his decade-long relationship with Paltrow on “Fun” as he sings, “I know it’s over / A parting of ways / And it’s done / But didn’t we have fun?” But with Tove Lo’s sunny backing vocals, it’s not a lament but rather a glorious celebration of good times. The gorgeous “Amazing Day” also carries through some of the traditional Coldplay sound but, like “Fun,” it seems even brighter as Martin sings, “The view, the whole Milky Way / In your eyes, I drifted away.” It feels so good you don’t even care if it’s a little cheesy. Coldplay has one again reinvented itself. Let’s hope the boys stick with it this time instead of returning to familiar haunts. the spectrum

this is the only top album list that AHFOD has made an appearance in (that i've seen). it sure is the exception.

not too bad.. pretty disappointing in the US though [MEDIA=twitter]677265848323575809[/MEDIA] Mobile Link: https://twitter.com/chartnews/status/677265848323575809

NME ranked AHFOD at #37 on the albums of the year chart (!!)

there was negativity when parachutes was released. it was labeled by some as an effort to mainstream more left-field, better artists. and about AHFOD, i'm not disagreeing with you. my point is you try to make this out as the ultimate betrayal by the band or something dramatic like that, when in fact fans have been saying similar things since a rush of blood. there are people who think that the only good album coldplay made was parachutes because they sold their sound to make arena pop/rock from a rush of blood. i'm just fed up of the constant ranting, unfounded insinuations about the band (who are we kidding, that would be chris) and sometimes even personal attacks. it's all chris' fault right? poor old will, guy and jonny.. this thread is indeed a train wreck. it is as tiring as it is entertaining.

[MEDIA=instagram]_Vxq86p9qJ[/MEDIA] Mobile Link: https://www.instagram.com/p/_Vxq86p9qJ/

my point is there were comments like this from different people even when parachutes came out. that it's watered down, sugary radiohead-lite for mass consumption.

to some people coldplay were never a great, artistic, original band. to some they were always a band that ripped off of better bands (i see this point, but in a more influenced sense). to some people coldplay were great and are great today. to some people coldplay died after parachutes. to some people coldplay died after a rush of blood. to some people coldplay died after x&y. to some people coldplay died after viva. and to different people these deaths happen to varying degrees. to some people the depressing coldplay are over and they are reborn in better ways with the recent releases. this never changes. artists change, bands change and people change. no point in trying to make others who may enjoy the music feel badly about it. i don't enjoy most of AHFOD, but what's the point of trying to make others think that it's bad? chris recently said that music unites people (talking about the paris attacks). hell no! just look at this forum. hahaa!

video is here http://www.justjared.com/2015/12/15/coldplay-performs-with-gorilla-dancers-on-the-voice-finale/?utm_source=dlvr.it&utm_medium=twitter

i'm just disappointed in your blind hatred for this album that you can't see what a beautiful story birds has. no point in arguing with you. waste of my time :)

so tired of people picking and choosing to make a point. you can generally argue about the decline in lyrics, but you can never argue that coldplay lyrics had this profound quality even at the very beginning (before chris got too rich and indulgent according to some people on here). there were the good and the bad (to varying degrees), then and now. the lyrics to the very first mega hit: and now a (lyrically) better song from AHFOD now with these two songs, can you really say that the earlier lyrical output is much better than the later output?

gorgeous recent pic x

that has been going on since parachutes. so i'm pretty used to it.

so tired of the conscious uncoupling jokes and the "coldplay are done after lp7" line.

Why Coldplay consciously recoupled before possibly fading away By this, their nearly 20th year as a collective, Coldplay have become less a cultural force than an analogue for a certain musical formula. A soggy, heart on your sleeve prescription for sadness that distils the euphoric bacchanal and cheesy lyricism of forbearers Oasis and U2 into a fun for the whole family testament to optimism. Each song methodically engineered to appeal to the widest audience in the most base emotional manner, often starting with a shallow verse to lead into a propulsive chorus or life-affirming crescendo. It’s a winning method made all the more successful by the fact that they’re universally appealing. As John Mayer once told Spin magazine, “[Coldplay] found a way, identity-wise, to be from everywhere.” In other words, they succeed by being bland yet universally touching. This makes the group’s seventh, and reportedly last, album their most aptly titled. A Head Full of Dreams is so saccharin that, at times, it feels out of step with the modern era. Through touchstone heavenly woos, guileless apparitions and area-minded riffs, it dares the listener to stop thinking and start feeling. All wrapped up in a Beyonce-featuring bow. It’s enough to make one wonder, as a band whose gestures only come in size Grand, is the Coldplay formula antiquated or simply an honest reflection of their state of being? Drifting across a foggy Italian motorway “somewhere between Marino and Milan,” Coldplay drummer Will Champion says the album’s overtly positive message is no coincidence but, likewise, was “not cynically devised in that way.” “It’s just seems to be the way things come out quite often,” he deadpans over the phone in a taught British accent. “Trying to convey the message of optimism in the face of all the difficult things that you can go through in life — whether they’re trivial or seriously big events.” In turn, Champion says A Head Full of Dreams was meant as a “breath out,” both on a macro (“In uncertain times, with terrible things happening frequently all over the world right now, we wanted to have a record which inspired people to come together and work with each other rather than emphasizing the differences between each other“) and micro level, envisioned years ago as a colourful companion to the dark, EDM-infused melancholia of their last album, Ghost Stories, which focused on singer Chris Martin’s divorce (conscious uncoupling) from Gwyneth Paltrow. I’m hopeful it’s not going to be our last album, but we don’t have any other ideas at the moment “We knew right from the word go that we were going to follow [Ghost Stories] with something that was a bit more grand: a bit more in an extroverted and positive.” Champion says. “They were always going to be together: the breathing in and then the breathing out.” With this in mind, the group didn’t tour Ghost Stories, hoping to give Martin and their audience a chance to digest. Champion thinks back to this time as a bonding experience for the group. “As with any bunch of friends it was about support really,” he says. “We’re very protective of him as he is the guy that takes a lot of the heat for us. He’s obviously the face that’s most associated with our band. The dynamic was not particularly different, it was just a different mood of music. We worked as hard and in the same vein as we always do: trying to all push in the same direction.” “I felt privileged that he was being able to be so honest with his feelings. The stuff that was coming out in the songs, I felt a very strong sense of wanting to do it justice,” he continues. “It was obviously a difficult time and he bore it all with such good grace.” By contrast, Champion calls A Head Full of Dreams “the most fun record that we’ve recorded.” “There wasn’t as much head scratching and self-doubt as there has been in the past,” he says. “That was the concept: to feel free of any sense of expectation. This album represents the things that we’ve learned are important and the things that we’ve learned aren’t so important. It’s really trying to emphasis the idea of a band as togetherness. It was really quite refreshing.” Despite the superlatives, Martin has not exactly been shy in explaining to the press that it will likely be the group’s last album. Confronted with his singer’s statements, Champion acknowledges that it’s been discussed amongst the group, but acquaints Martin’s statements with Daniel Craig’s hastily and since recalled degradation of James Bond shortly after finishing the latest film There wasn’t as much head scratching and self-doubt as there has been in the past “I’m hopeful it’s not going to be our last album,” he says in typical Coldplay form. “but we don’t have any other ideas at the moment.” “We spent the last 18 months recording this record and we don’t have any ideas,” he repeats. “So when someone asking if this is our last one we can’t really see beyond that fact that we’ve now got an opportunity to tour this record around that world. That’s what we’re really looking forward to. “Beyond that, who knows? We don’t really know what’s going to happen in a couple of weeks, let alone a couple of years.” x

people, this has been mentioned before. play nice!

ummm... did you miss chris being an adviser in this thing last year??

[MEDIA=twitter]676132139256147968[/MEDIA] Mobile Link: https://twitter.com/TherealNihal/status/676132139256147968

high time chris gets his head examined it looks like. lol. wish he would just buy a sports car and get back to making good music ;) jk

hi Alice! welcome to coldplaying :)

hi Alberto! welcome to coldplaying :)

Chris Martin reflects on his career with Coldplay during fan interview: ‘Right now, I’m having a long favorite moment.’ December 11, 2015 A few weeks ago, a lucky SiriusXM subscriber got the opportunity to interview one of her favorite artists, Chris Martin, right before Coldplay released its seventh studio album, A Head Full of Dreams. The interview, which aired on The Spectrum (Ch. 28), delved into Martin’s writing process, what A Head Full of Dreams means for the band within context of their long discography, what it’s like having worked with the same group of friends for close to two decades, and some of the highlights of their career together. On what makes A Head Full of Dreams stand out among Coldplay’s six previous releases: Well, I’m very proud of the other [albums], but they feel now like a journey to this thing. To us it feels like the final few scenes in a movie or something. I always dreamed that our band would get to this place. I don’t know what anyone else will think of it, but for me, I’m just so grateful that we were able to make it. It’s kind of the album I’d always hoped we’d be able to make. On how the band feels at this stage in their career: I don’t think it’s the final years of the band, I think when we speak about something sort of having the feel of finality, it’s more sort of the end of one story. That’s not to say that we wouldn’t want to maybe do something in the future. I just don’t know what that would be. When a band says that, often it’s code for them feeling comfortable in the place they are in, and they don’t really want to think about anything after that. On his song writing process: It happens really two ways. Sometimes, in the middle of the night, I’ll just be working away, and songs start coming through. You just sit there playing long enough and then songs start arriving. I don’t know where they come from. Then you take that to the rest of the band and then they add their layers, and that’s how it’s done. Then, with a song like Adventure of a Lifetime, sometimes the rest of the band sort of improvise bits of music, then show me when they’re excited about it. If I’m lucky, then a song will come out on top of that music. So Adventure of a Lifetime, or we had a song on our last album called Magic, those came out that way. I love doing it that way, too, because I just have to do the bit at the end. On how he gets his creative juices flowing: I do two things. I do a thing called free-form writing, where you take a pen and paper, and you just write anything for twelve minutes and then burn it. And it cleans your brain out. I got it from Einstein — not personally, of course. But that’s what I got told he used to do just to kind of free his brain up. The other thing I like to do is just mess around and do silly songs and try and do songs for friends or whatever, just to feel like you’re not taking it too seriously. On what its like to have worked with the same group of guys for almost two decades: Well, the experience is really incredible because everywhere we go and everything we go through, we share with this group of brothers basically. And sometimes when we are out and about and see other artists who have to do it on their own, I feel like I don’t think I could do that without my friends because no matter what craziness we’re going through, you can always just shut the door and say, ‘Wow, we gotta talk about this.’ And we’re all on the same team, and that’s an amazing feeling. On some of highlights of his career with Coldplay: We’re so lucky we’ve had a lot of [memorable moments]. We were just talking about the first time we landed in New York, and we were mixing our first album right by Times Square. None of us had been to America before, so just driving past Time Square now was like, ‘Oh I remember seeing that for the first time and just feeling like a little ant.’ That feeling of, ‘Wow, we’ve made it to America.’ We hadn’t even sold a record [at that point] or anything, but just the feeling of getting to America was huge. Then we had a great moment when we headlined our favorite festival called Glastonbury Festival in 2002, and since then there has just been so many. When we played at the end of the Paralympics in 2012, when the Olympics were in London, that was very special. Making these last couple of albums has been really really fun because we worked really hard on how we communicate with each other and trying to bring the best out of each other. So right now, I’m having a long favorite moment. x

Why we love to hate Coldplay: Admit it — the thing you hate most about this band is how much you really like them Coldplay is actually the perfect band to play the Super Bowl halftime show—like it or not NICO LANG (Credit: Reuters/Carlo Allegri) You are a person of refined tastes. You drink Scotch and enjoy the sounds of Deafheaven and Courtney Barnett. You surely are not the “type of person” who likes Coldplay. If Fox News’ Jesse Waters once coined the term “Beyoncé voters” to describe single women, Coldplay’s perceived fans might be best described as “Martin O’Malley voters”—middle-aged dads who think Starbucks lattes are cool and shop at L.L.Bean. They drive used Volvos and describe themselves as “environmentally conscious—I guess.” They like Radiohead and the Police; they’re not so unhip that they’d attend a Celine Dion concert, but they probably think Father John Misty is a wise Appalachian preacher with great stories. If Coldplay is thought to be the musical equivalent of “dad bod,” this did not escape the notice of Twitter following the recent announcement that the British foursome would be playing this year’s Super Bowl halftime show. The jokes were so inevitable that they’re not worth repeating, but what’s notable about the adverse reaction to Coldplay is how reflexive it is. When I initially heard that the band was releasing a new album—with the incredibly on-brand title “Head Full of Dreams”—I loudly groaned: “Ugh, why?” That was actually a very good question: Why did I hate them when—after I thought about it—I actually didn’t? I really enjoyed two Coldplay albums (“A Rush of Blood to the Head,” “Viva La Vida”), had warm-to-positive feelings about two more (“Parachutes,” “Xylo Myloto”), and only actually disliked two (“X&Y,” “Ghost Stories”). And even their worst albums have their high moments: If “X&Y” is a U2 tribute by way of self-parody (with “Speed of Sound” marking the band’s worst single to date), the record is not without its high moments. “Fix You” marked Coldplay’s most overt embrace of arena rock yet—grandiose emotions designed for stadium-sized consumption—but for all of its treacly lyrics, the song is genuinely touching. Chris Martin and his band appear to have what BuzzFeed’s Anne Helen Petersen called Anne Hathaway Syndrome—aka “when you do everything right and society hates you for it.” The comparison is apt: Like Hathaway, Coldplay really, really cares what you think. The “Les Miserables” actress famously apologized for her 2013 Oscar dress—which showed clearly visible nipplage—while Martin acknowledged that he’s not the best writer: “We know our lyrics are a bit shit.” Anne Hathaway likes to self-deprecate on Twitter, calling herself “Annie” while reminding followers she’s just like you. And in a 2011 Billboard interview, Chris Martin compared his band’s music to a “good sandwich.” We like that down-to-earth lack of pretension when it comes from Adele or Taylor Swift, whose brand is built on reminding you that she’s not the biggest star on the planet but your best friend, but we apparently do not like it in our rock stars. Coldplay’s critics especially do not like it when it comes from a handsome 38-year-old millionaire who is friends with Jay Z and Beyoncé and was married to an A-list movie star for more than a decade. What does Chris Martin have to be so sad about all the time? But even more than the Hathaway parallel, the band’s play for mass appeal over critical applause is reminiscent of Nickelback. In a famous dig at the band, Thom Yorke once described Coldplay as “lifestyle music,” and he’s right—but not in the way he means. With the death of Nickelback, Coldplay is the closest thing rock music has left to a “statement band.” Disliking Nickelback doesn’t demonstrate your learn’d knowledge of the Chad Kroeger discography, and most people who hate them wouldn’t be able to name a single one of their albums. As in the case of the O’Malley voter, it’s a declaration of one’s values in opposition to a perceived “Other.” This time, it’s people with Confederate flag tattoos and shotguns in the back of their pickup trucks. What separates the two acts is that, like it or not, Coldplay was a critics’ band—following the smashing success of 2002’s “A Rush of Blood to the Head.” The group had its detractors (notably Pitchfork and New York magazine), but it earned raves on both sides of the Atlantic—from NME, Entertainment Weekly, Billboard and the Onion A.V. Club. It was voted one of the best albums of the decade by Rolling Stone(at #21), and even “X&Y” was better received than you might think: Blender called it the band’s “masterpiece,” while Q magazine felt it was Coldplay’s finest record yet. Until the current EP, every single one of the band’s records received positive reviews upon release—with “Ghost Stories” reaching a relative low point in the band’s critical and popular acclaim; their sixth album notched just a 61 on Metacritic, while their first four records all scored above 70. Three of Coldplay’s records have been shortlisted for Britain’s prestigious Mercury Prize, while 2008’s “Viva La Vida” became the biggest album in the entire world, selling 10 million copies. They’re the rare band that can open Glastonbury, star in an iTunes commercial and get covered by Willie Nelson in a Chipotle ad. But what bothers the Independent’s Andy Gill is that—despite the band’s success in just about every way we define success—he genuinely has no idea who Coldplay’s followers are. “Who are those masses politely arrayed in their thousands at stadiums when Coldplay play?” he asks. “Is it some secret society, an Opus Dei of dreary anthemic music?” While Gill insists that the band’s fans are no one he knows, he seems to know the answer to his own question: The most irritating thing about Coldplay isn’t Chris Martin’s much-criticized falsetto or their embrace of lyrical Velveeta, but that they appeal to everyone while seeming to appeal to no one. In a must-read breakdown of the band’s discography, the Onion A.V. Club’s Sonia Saraiya—now Salon’s TV critic—argues that “Coldplay is the closest thing to a musical monoculture that exists anymore.” This is not an accident. Many bands use massive success to get weirder and more insular: After winning Grammys, Arcade Fire decided to ditch their signature sound and make an LCD Soundsystem record, while M.I.A.’s underrated “Maya” was all but a middle finger to fans who were looking for another “Paper Planes.” But according to Saraiya, Coldplay became “a group of men in the business of making Coldplay continue to sound like Coldplay.” Like U2 before them, Coldplay has always stressed universality, a kind of open space in their music that allows the listener to project their own fears and desires into the lyrics. On “Talk,” the third single from “X&Y,” Martin asks: “Are you lost or incomplete? Do you feel like a puzzle, you can’t find your missing piece?” These sentiments are nondescript enough that anyone can identify with them, and following “X&Y,” the band’s sound began to follow the same template—incorporating Afropop, Japanese and R&B influences for a distinctly global sound. Of all people, John Mayer described it best in a 2004 Spin interview: “They’ve found a way, identity-wise, to be from everywhere.” That’s precisely why Coldplay makes such an oddly perfect choice for the Super Bowl: The NFL’s championship game is the most-watched night of television of the year. It’s the one evening when all of America is huddled around TV screens–and in an era where the NFL is pushing to expand its appeal abroad, it may be soon be the event the entire world is watching. Coldplay doesn’t just bring together Japan, Europe and the U.S., it forces Lynyrd Skynyrd fans, Volvo drivers and single ladies to admit that they have more in common than they might like to think they do. When you and your grandmother are both nodding your head to “Yellow” on Super Bowl Sunday, you’ll be forced to admit that the thing you hate most about Coldplay is that you actually really like them. salon

actually no. the band said multiple times that they passed so many deadlines but in the end, they wanted the album out this year. think it had more to do with the extensive tour planning they had for 2016. and i was disappointed like you before. but realizing they don't care about charts made me happy. i never really believed the band when they said they don't care before, but now they have walked the walk.