gai

[MEDIA=twitter]674009886334717952[/MEDIA] think they were aoal and ahfod.

both + the reception of each album.

i'd agree with you, but birds got very little love from the reviewers i think. one even called it a real dud. hahaa!

love these lyrics. but chris being chris, of course he had to throw in a wrench in the last line.

Birds been standing in the corner studying the lights the dreaming of escape will keep you up at night but someone had put the flares up and got me in the rays so I guess I’d better stay ‘uh uh no come on’ you say it’s a fool’s gold thunder it’s just a warring rain don’t let the fears just start ‘what if I won’t see you again’ around here you never want to sleep all night so start falling in love, start the riot and come on rage with me we don’t need words and we’ll be birds got to make our own key only got this moment you and me guilty of nothing but geography come on and raise it come on and raise this noise for the million people who got not one voice come on it’s not over if you mean it say loud come on all for Love out from the underground away with me we don’t need words close your eyes and see and we’ll be birds flying free holding on in the mystery oh oh oh oh oh oh oh oh oh fearless together you said ‘we’ll go through this together’ when you fly won’t you won’t you take me too? in this world so cruel I think you’re so cool official lyrics

what's up with NME? trying to get back on the band's good graces? they haven't given them an interview in a good 4 years i think.

that was a knowledgeable interviewer. nice to see.

[MEDIA=twitter]673849989475524608[/MEDIA] [MEDIA=twitter]673913439094497281[/MEDIA]

parachutes debuted as #1. all of them did. in the UK anyway.

here's the interview where chris talks about it. the city is birmingham. i'll leave you to dig up the video. i'm pretty sure the song was yellow, but a slight chance i might be misremembering

that he does! hahaa! unless he is frowning like about punish some misbehaving kids. it was from the first or second day of the concerts in england, around the end of november or early december 2008. i'll try to look it up, but it's been a long time. the video was on youtube.

yes :) good one! happy to get my daily quota of "home country recognition". hahaa!

:) edit: hahaa! that gif came out quite smug.. oops

*** ;)

i think will is the most encouraging one actually. since about viva, i have noticed most times when chris is in trouble or need help, he turns to will. there was a video from viva era. they played around the world before starting the tour in england and the first show they played, chris almost stops yellow and runs to talk to will. there was an interview with chris later during mylo and he said that there was no audience noise when they started yellow and he felt like running off the stage. and will calmed him down. in the video chris made the audience sing the outro to yellow over and over to "get his confidence up". i still remember that well because it showed just how the band worked.

hahaa! no offense, but i have plenty of experience in that regard. i'm from a south asian country and out of the academic setting, if i can find one person who knows of my home country in ten people, i'm happy. once one person asked if i was chinese when i was with a chinese person :)

don't think graham norton will happen because they just did the jonathan ross show. colbert would be wonderful, but don't think that'll happen for awhile either. only late night show in the US confirmed around the release dates is the james corden's tomorrow. and they should be somewhere in uk or europe now i guess? they played london yesterday and they have some promo stuff happening starting tomorrow in europe.

NEW COLDPLAY ALBUM WILL LAND ON SPOTIFY IN ‘NEXT FEW DAYS’ DECEMBER 6, 2015 BY TIM INGHAM The new Coldplay album, A Head Full Of Dreams, will arrive on Spotify sooner than many people thought. When the LP was officially released on Friday (December 4), it was notably available on paid-for streaming platforms such as Apple Music, Amazon Prime Music and TIDAL, but not Spotify. Reports of an out-and-out snub, however, now look a little exaggerated: MBW understands that A Head Full Of Dreams will be made available on Spotify later this week, to both its free and premium customers. Collaboration between Coldplay and Spotify won’t stop there, either: MBW is being told that “something special” is being cooked up by the band in tandem with the service, to be unveiled next year. The last two Coldplay albums – Ghost Stories (2014) and Mylo Xyloto (2011) – both took months to arrive on Spotify after their release. A Head Full Of Dreams, on the other hand, will have taken a matter of days to reach the platform. Spotify last confirmed an official update on its user numbers six months ago, when it revealed it had 75m active users and 20m paying customers. MBW understands that total user number is now nudging the magic 100m mark, with subscriber numbers moving up at a similar rate. The Coldplay news comes as Spotify runs a series of promotions to accelerate its growth around the world. The company is currently offering would-be customers the chance to subscribe for three months for just $0.99 in the US and £0.99 in the UK – a global promotion which expires on January 2, 2016. x

it better be!

lyrically, there are some real shining moments in the album. but also, there are some real duds. the thing is, a few of those better ones need some context to understand the meaning and cohesiveness of the song. when reviewers are listing 'fun' as an upbeat song you can count on them missing most of those points.

eager to please, they always have been. but what a way to diminish the beauty of probably the best song we've gotten from coldplay in 7 years.

From Adele to Coldplay, ‘Hello’ to bland British pop Ludovic Hunter-Tilney Music from the UK aims for maximum palatability, writes Ludovic Hunter-Tilney ©Getty The UK trade deficit is the hole that can never be filled, but one sector of the nation’s export economy is doing its best. A world that long ago stopped dressing in Lancashire textiles and eating with Sheffield cutlery cannot stop singing along to Adele’s “Hello”. The song is from the artist’s new album 25, which sold 4.5m copies in its first two weeks in the US and has topped iTunes charts in 110 countries. She leads a generation of Britons who are exporting music to all corners of the globe. UK acts were responsible for one in seven of all album sales last year and half of the top 10 best-sellers. When it comes to pop, the nation truly punches above its weight. As a patriot, I salute the success of my warbling compatriots. But as a music fan, I confess to being left cold. Or rather, tepid. For British pop is not only phenomenally successful — it is also dispiritingly bland. A risk-free approach predominates, with every edge smoothed off. “In this world so cruel/I think you’re so cool,” Chris Martin flutes on Coldplay’s new album, customarily eager to please. Songs by Sam Smith or Adele plod along at a careful mid-tempo. One Direction’s tunes fizz with the precise calibration of a product by their sponsor, Pepsi. Ed Sheeran, the most-streamed artist ever on Spotify, is probably the riskiest of the bunch, but that is a bit like saying hamsters bite. The comparison is not only with more colourful epochs, such as the original British Invasion of The Beatles and The Rolling Stones, or the 1980s glory days of Duran Duran and Culture Club. The blandness also contrasts with today’s North American stars. Miley Cyrus and Justin Bieber inspire many adjectives. “Dull” isn’t one of them. An ingenious nationalist might argue that boring UK musicians tap into Britannia’s celebrated but unexciting virtues of calmness and phlegm. That cannot be right, though, not when you consider Adele’s emotive singing style or Coldplay’s touchy-feeliness. The reason lies elsewhere. Actually, to be precise, it lies everywhere. British pop has tailored itself for global consumption. It aims for maximum palatability, a melodic but unexciting style that translates across multiple territories. The old US vaudeville phrase “Will it play in Peoria?” has become “Will it sell in Singapore?” Ed Sheeran, the most-streamed artist ever on Spotify, is probably the riskiest, but that is a bit like saying hamsters bite. There is an economic rationale for making easily digestible songs. The UK music market is the fourth largest in the world. At a time of shrinking sales, however, it pays to look abroad. Too much local flavour tends to diminish exportability, hence the existence of Mumford & Sons, named as though they were a firm of Wigan butchers but whose music is pure mid-Atlantic pabulum. Like UK car manufacturing, much of this export success is driven by non-British-owned companies. Adele is an exception, signed to the London-based independent XL Recordings, but her peers are almost all on the rosters of foreign-owned major record labels, such as the aptly named Universal Records. There was a time when the British had a major label, EMI. But that was brought to its knees after a fateful acquisition by the private equity firm Terra Firma, leading to the company being split up and sold to overseas rivals in 2012. Oddly, the demise of the label that brought us The Beatles and Pink Floyd passed without the outcry that took place two years earlier when the confectionery firm Cadbury was sold to the US multinational Kraft Foods. That is not to say that the country lacks patriotic pride in its success at pop. The opposite is true — but there is no matching pride in the companies that built it. We reap what is sown: an agreeable but unadventurous style of music, performed by nice but unchallenging individuals, the very sound of a successful service economy. the FT

don't think it's true though :)