lennyrott1

Great video! Is it just me or does it feel crazy that we have 4 (YES 4) videos in the EL era already but there hasn't been like any discussion or interest in them? Maybe Daddy had the most excitement around it?

^ This god please this. It's not that they aren't incredible when it's just the 4 of them with backing tracks, but when you see other bands like Arcade Fire or The 1975 bring other instrumentalists on stage, it really raises the music to another level. I was lucky enough to see Coldplay on the AHFOD tour and the most AWKWARD song was Hymn for the Weekend because there was nobody playing the horns and it felt like Jonny and Guy just kind of fake played some of the percussion on little pads. Literally was the only moment during my show where the crowd felt out of it. Now imagine they had Femi Kuti playing the horns and extra percussion for Hymn for the Weekend so Jonny and Guy could add extra guitar and bass? It'd be sweet.

Yeah I think so too. In fact I'm starting to be REALLY convinced about this April timeline. Let's look at the rumor roundup recently. The EL era doesn't seem to be over as reports of Champion of the World being a new single (and music video?) towards the end of February. Also, there were signs of music videos being dropped for Cry Cry Cry & Trouble In Town. Maybe they were scrapped, maybe they'll still get a release in the coming weeks. Finally, we know they did a NPR Tiny Desk Concert where I'd assume they have some say over the release date in the next month and a half. My guess is end of February to coincide with CotW single release. Finally, the latest rumor is that Chris won't tour with Soda Stereo because he'll be too busy in April. From a band management perspective, this keeps Coldplay in the news and on the charts heading into March. Part of effective marketing is to always keep your brand in people's eyes so that when something new pops up people are ready to listen/pay attention. So the EL era could wrap up with a final single and a music video, and then in April they release a single or start teasing a new album era. And that's not that far off folks!

Very underrated. It was one of my fave tracks on my first few listens. Very Paul Simon and love the backing vocals. Sounds a lot like early Coldplay too. Could have sat comforably with I Bloom Blaum and See You Soon. Of all the tracks on the album tho I definitely haven't been listening as much. I think part of it is the weird placement after Orphans, which puts me in a dancy indie pop sing-along mood but then diving into a gentle acoustic story piece feels jarring.

am i a boomer if i still wonder about car kids more than the race?

That's cool research and definitely on par with Coldplay's entire career being obsessed with starts, planets and "how the universe is big and crazy, man." So... in my alternative music dreams, they'd make a 9-song album and each song would be themed after a planet and super weird. Something like what Sufjan Stevens did. Or more likely, they use Music of the Spheres as a general motif/inspiration throughout the track listing, but musically the songs are as random and genre-jumping as usual with a couple pop singles.

I'd have a hard time calling it Oldplay.... Depending on what LP9 sounds like, I might even argue that perhaps Oldplay (Parachtues - Viva) and Newplay (MX - AHFOD) might be limiting categorizations. I'd say EL has more similarities with Viva, which also explored one-off genres and felt (risky/experimental) for the band. Viva for me has always been the transition between Oldplay and Newplay -- it kept the alternative part of their roots and mixed it with new genres propelling them into Mylo Xyloto and more pop-friendly stuff. Perhaps EL will be yet another transition from Newplay to NewNewPlay ? haha If I had to categorize EL, I'd say it's a refined, acoustic version of Newplay.

Yeah not sure if I can really define relevance, but speaking as an American, I can say that commercially, musically and pop culture-wise, they are definitely the least relevant they've ever been. EL was hardly marketed like other CP albums, and the style of music presented is wildly different from the Top 40 sounds we're hearing nowadays. And finally, I think most people still "like" Coldplay but at this point I don't see them being a huge pop-culture influence in the 2020's. Every band has to reach a point where they become more "legacy" act and are less relevant to younger people. That's not to say they're not still important to a ton of people and that their albums can't win awards, or sell out shows. U2, Radiohead, Muse, and others still get tons of media and press recognition and alternative radio play when they drop stuff. But we're never gonna relive OK Computer or Joshua Tree, if that makes sense. Nor will we X&Y. Even if they drop some radio singles for LP9, we still have to contend with the fact that band music is not what people are looking for anymore.

^Interesting! And great job researching this. I don't know much about how copyright works, but I think if the request was rejected that doesn't stop them from still using it as a title. Like, there's now way they copyrighted Ghost Stories right? AHFOD and MX make sense to copyright cuz who's gonna copy that, but you can't copyright something that's commonplace (remember the case where Taylor Swift was trying to copyright her super commonplace lyrics?). Music of the Spheres already exists as a poem and as other music, so personally I feel like it's silly to copyright. But again, I'm not in the business and there's probably some imp. legal reasons to do this. Regardless, it seems like we know the title of the upcoming project!

According to someone on discord Chris said "we'll see you in a few months" at the end of the show last night? is that true? Also -- wasn't concrete evidence that Cry Cry Cry was getting a Dakota Johnson-directed video and that Trouble In Town was casting for a video? Is the EL era truly over now?

I def think there are some similarities. In the VLV/MX eras there were definitely references to sailing. Glasses of Water Chorus -- "...Cling to the mast" DLIBYH Verse -- "from my shipwreck, I heard her call..." I think Champion of the World would have fit into those eras. My guess is that Coldplay's always identified with leaving loved ones to travel and go on tour and have low moments while being away, which might inspire ship imagery.

Almost two months on, I have to say I haven't been replaying EL very much. Which is funny, because I think it's a much stronger album than AHFOD - but AHFOD i've played a million times over. I think that says something about the album's structure and tone. It's def not the upbeat explosive sounds you want to listen to over and over and over. This one just needs more time and lots of time to sit and absorb, which I love about it but who has time nowadays ;)

TLDR: My decade really starts with becoming obsessed with Coldplay and now I'm ending the decade still a huge fan and with newfound appreciate for the band. At the start of 2010, I was really thankful for Coldplay and Viva La Vida launching my taste in music towards indie and alternative music. By 2011, I was full on obsessed and MX came at the "coming of age" time in my life. I had a crappy little volvo, I was a senior in high school with a lot of friends and activities and newfound freedom, and I started dating my current girlfriend. I'd blast HLH and DLIBYH out the window cruising around to see friends and to go to my summer jobs. Very much a rosy time and the music fit it perfectly. By 2014, my girlfriend and I were doing long distance for college and I'd been suffering from depression trying to figure out what to do with my life. I remember listening to Magic for the first time in Marseilles in a sketchy AirBnB while visiting her with literally $400 in my bank account. The whole GS era really was a good coping mechanism at the time. A lot of time with headphones in not talking to anybody. By 2015-2017, I was wrapping up college and having a bit more fun in life. The music felt energetic and fun, and I finally got to see Coldplay in 2016 in Salt Lake with my sister. We drove 7 hours, spent a paycheck for tickets, and slept in the back of the car before heading back home. I also started finding new appreciation for modern pop music at this time, and Kaleidiscope EP felt like an exciting venture into what Coldplay could do in the future with pop and rock fusion. Now in 2019, I'm working full time for a non-profit, living with my girlfriend, and am very much "adulting." I'm also a bit scared about the future: Climate change, the rise of popular nationalism, inequality, internet anger. Everyday Life has a maturity and softness to it that really resonates with me at the moment, and brings me back to the reasons I fell in love with Coldplay in the first place. Has this decade had my favorite music? Definitely not. But just like my fast-changing life, the music also changed and certainly was Coldplay's most diverse and surprising. Naturally, your love and fandom can fade over time as more music comes out and your taste changes, but I'm honestly shocked I've stuck with coldplay and been this consistent a fan.

In that French interview, doesn't Chris say "They both mean something...." ?? If so, that makes me wonder if the car and license plate is different from Music of the Spheres, Coldplay coming soon thing... Maybe Music of the Spheres is coming in 2020 and then FFTF is coming in 2024 and includes........car kids...........

Just wanted to give Guy a shout out for his work on EL. I sometimes think certain albums exemplify one member of the bands talents. On VLV the entire band was crushing it. On MX, Jonny delivered absolutely massive guitar riffs and solos. On AHFOD, Will really showed the breadth of his skill with live drumming and creating awesome sequenced beats and rhythm sections. Now on EL, I feel like each "band" track has incredible bass. Church, Trouble in Town, Arabesque, Orphans, Cry Cry Cry, CoTW all have some of Guy's most melodic bass riffs since Viva and their early days.

TLDR: How could you not hear Yellow, Clocks, and Speed of Sound all over the radio in the early 2000's? But it wasn't until violet hill dropped that I became obsessed. When I was a kid, I listened to a lot of pop punk, pop, and hip-hop (and still do) But when I was in middle school, my older brother and sister had limewire (an early torrenting site). They downloaded LP1, LP2 and LP3 and I was able to get them on my first little crappy ipod. I had known Yellow, Clocks, and Speed of Sound from the radio, but I started listening to the first three albums shuffled with Red Hot Chili Peppers, Modest Mouse, Beatles, Decembrists, Kanye, and others. Then in 8th grade (2008), I remember Violet Hill dropped on iTunes for free. I listened to it endlessly, and spent what little $$ I had on the VLV album and basically listened to it everyday for a year. That's pretty much when I became a true Coldplayer. I was obsessed with everything and starting lurking on Coldplaying in 2010/2011 pre-Mylo. On a side note, it really was Coldplay that helped me transition into liking all sorts of music. Before my taste was bit limited to generic and popular music. But after getting into the alternative side of Coldplay I began listening to a lot more alternative music. I think they're the perfect bridge band between mainstream and alternative music.

EL kind of reminds me of X&Y. Okay, so obviously they're completely different but they're about the same length, each have very distinct styles, and each explores different genres. EL is going to be a fan favorite for some, just like X&Y, while others are totally gonna find it all over the place. In fact, critical response has been similar. If you look at basically every other Coldplay album, I think there is a lot of special attention payed to the flow and structure, but to me EL and X&Y feel a little bit more like a playlist. Longterm, I just don't see EL as an album the band will revisit. Obviously X&Y isn't revisited for other reasons, but idk. I feel like X&Y is a mood album that's 100% amazing when I want to play it. EL is the same. I don't turn on EL for fun, I turn it on for a mood and to soak in the atmosphere, not to hum along to every catchy moment. Personally, I like X&Y and EL more than Ghost Stories, MX, and AHFOD. But I often find myself gravitating more towards those newplay records because they're catchy, energetic, saccharine, and nice to have in the background, if that makes sense.

^There definitely has been a lot of references to rocketships and aliens in the last few eras :)

^Yup. Has that melody style we heard in VLV, MX and in demos of those eras. Has a B-Side feel, but the chorus is really, really good. I'd say the rest of the song is maybe a tad repetitive and not all the way flushed out, so I see why it wasn't released. But man, I love Jonny's guitar. This is such an alt-rock sound and has a AROBTTH feel to it, or more classic Coldplay I guess.

On the whole X&Y redux thing... It's so confusing because the album really is a fan favorite and in my opinion, one of their most alternative and epic. I think as an album, it doesn't flow very well and maybe there are too many tracks where Chris is using his falsetto, over and over and over. But the guitar is incredible and the use of organ and synths was flawless. I'd be curious to see them revisit this era, but I'm also pretty content with it and don't want them to re-record it and make it worse haha

I believe that is Space Symphony which might have been an earlier version of Moving to Mars. But idk, could also say Sphere!

But what do we actually think it will sound like? I'll just assume LP9 is music of the spheres and this is the artwork... I've got two guesses: 1. It's a retro rock'n roll/pop album. - So think Cry Cry Cry and Amazing Day and going for a 50's blues/gospel/Back to the Future vibe but with some fun rock songs thrown in. I feel like this would leave room for a few Top-40 singles that are super catchy and pop-vocal driven but also some fun alternative sounds. It would feel natural coming off of Everyday Life. I remember there was a "Waltz in B-Minor, Radio Dial" song that probably turned into Kaleidiscope on AHFOD. It almost feels like the band had the idea of doing a radio-dial album and I get that vibe from this image. 2. It's a weird spacey album - This is what i'd prefer. A space odyssey telling a weird story. Tons of synths and Jonny wailing on his e-bow. Think a mix of X&Y, MX and Kaleidiscope EP. Maybe this would be too similar to X&Y or just way too out there for a commercial album. The only issue is that all indications are pointing to the album being "standard." We know Chris almost saved Orphans for the next album, which is the most standard pop song on EL. We also know the record label is anticipating a more "standard" release, so I'll go ahead and assume that means "commercial." They love the Cry Cry Cry pitched vocals and Chris says they have another song with it they love (probably LP9). And finally, we know Coldplay wants to do something that can be toured, which implies it needs to have big sing-alongs and more explosiveness. So does that mean explosive rock and roll or explosive pop?

Lol Chris said that "we aren't doing much touring or talking" on this album and yet.... 1) I know more about this album than any other since we've got multiple track-by-track interviews and longer in-depth interviews. 2) We've now officially heard EVERY song live. (except Flags). 3) the band seems way more open about talking about this album and their work than ever before.

Good ideas. There's a lot to consider here. Getting carbon-neutral could be possible by doing offsets and trying to reduce transportation, but honestly offsets are really difficult and not well regulated. Radiohead might already do this. I think there are micro and macro stuff that needs to happen. Micro - Get rid of all plastics. Create online carpool systems for people getting to the show. Include offsets in the ticket price., so maybe each ticket has a $5 sustainability fee which goes to planting trees or renewable energy projects in other countries. Carbon offsets for band travel and electric buses. Energy efficient shows. Macro - Advocate for environmental candidates and causes. Partner with Greenpeace or Sierra Club or Sunrise Movement or Extinction Rebellion or better yet, local climate groups, to get people coming to the concert involved (add them to email lists, donations, share out branding). Be really outward and clear about the climate initiatives people should pay attention. The biggest thing for me is make the tours non-profit! I'm sorry, but we aren't going to stop climate change so long as profit-driven, corporate driven capitalism keeps going. So all "profits' of the tour shouldn't go to the already wealthy band members. They should go to the community of the show.

Yeah, basically every Pitchfork review reads somewhat positively like its going to be a solid 8 or 9, and then they deduct a few points because it's Coldplay. This should be at least an 8 by Pitchfork's standards. Look, Coldplay makes music that is accessible, mostly clean, and generally not risky and I think Pitchfork (and many hipsters like myself) tend to sway towards music that is more cutting edge or really strong pop/one genre. Also, we tend to prefer "pure" indie music (Father John Misty, Bon Iver) and Coldplay is only indie-lite. But I still don't get it. People are afraid to give Coldplay credit, especially in the "underground" community which Pitchfork claims to represent. My guess is that Pitchfork knows they screwed up in the early 2000's. They gave mediocre reviews to Parachutes and AROBTTH because they were only giving positive reviews to indie rock at the time (Strokes, Modest Mouse, White Stripes, Wilco). Fast forward to 2008 and suddenly Coldplay drops an amazing indie rock album. But to remain "consistent" in their reviewing, they weren't willing to give it much credit. Meanwhile, they're giving hugely positive reviews to Taylor Swift, Beyonce and other big pop acts. So while Viva and EL deserve a high 7 score at least, they needed to stay in the typical Coldplay range. It's totally inconsistent with other indie/alternative rock reviews, but that's just because scoring is subjective and annoying.