EasySuperstition99

Fair enough! However, I think another reason it works for me is because it is only 2:30. It goes by so quickly that it succeeds in not crossing the line between 'buildup' and 'boring'.

That's kinda what I like about it though. Chris's more muted, low-key delivery until the last chorus makes the release that much sweeter—it feels like a sigh of relief almost.

here are my thoughts about two listens in: it's pretty fantastic. 8/10 sunrise: stunning, perhaps it's a tad long but the strings sound so gorgeous i couldn't really care less church: maybe a touch too repetitive but i dig the production on this one, and the tune is nice enough trouble in town: banger, in contrast from a lot you here, i think the police sample is f***ing fantastic and pushes the song to a visceral sort of space. only complaint is that i wish the distorted guitar in the bridge was louder...why is the guitar getting hidden in the mix all the time??? brokEn: also in contrast to a lot here, i love this song. it's feel good gospel, i don't feel like chris sounds out of place with the choir. feels really classic singalong to me, honestly in the best way. daddy: just heartbreakingly beautiful. it resonated with me in a very personal way. WOTW/POTP: demo-- yes, but it adds to the weird nature of the record. the fact that it's like a soundbite/voice memos sort of thing isn't really a turn off, and though it could've probably been fleshed out into something decent, i don't think i needs to be. arabesque: best song on the record, probably. so much so i kind of wish i had waited to hear it with the rest of the record; i would've loved to be blown away again. when i needed a friend: don't get how jo while cried over this, but it's dope. jacob collier does his thing on this one. wish chris's vocals were a little louder though. guns: nice short cut, i personally i haven't heard music like this so it's uniqueness is what makes it above average. nothing to write home about though...it's over too quickly to make any other sort of lasting impression. orphans: pop banger. enough said. éko: the composition (chords, melody, structure) is up there with the most beautiful coldplay songs, such as prospekt's march/poppyfields and a rush a blood to the head. the modulations are wonderful; so much color packed in such a short track. cry cry cry: a throwback vibe. i don't know if i'm completely sold yet on coldplay's performance on this track., though it is a nice enough tune itself. old friends: charming. basically éko, but not as striking in my opinion. bani adam: best instrumental they've ever done. this is what a quality interlude sounds like, coldplay. champion of the world: absolutely do NOT get the hype when it comes to this track. i understand the comparisons to AROBTTH but it's sounds like a cheap derivative of the sound they crafted on that record and even on X&Y. the melody isn't particularly interesting, and the progression feels soooo repetitive. that's the thing with pop: you want to have repetition so that it's catchy but the progression and melody themselves have to be interesting enough to prevent becoming stale after each cycle. i don't think coldplay succeeded in making this one. i'd use this song as evidence to back up claims by critics who say coldplay sounds like white bread and wallpaper, to be honest. everyday life: makes way more sense in the context of the record. more bombast after the (somewhat bland) bombast of COTW wasn't the best choice. it's a hopeful way to end the record. beautiful work lads.

live version is much much better. it feels more alive and dynamic.

i doubt it, it’s a very common latin word used in music quite often.

the new track is very meh. it just doesn’t go anywhere or do much of anything, and the message and “hook“ are very on the nose. however i think it’s gonna make way more sense in context since it’s the last track of the record. i’m suspecting the second to last track is bombastic and all that was expected to happen at the end of everyday life and then everyday life closes out the album in a short/sweet and refreshing way. don’t know why they released this as a single though.

LETS GOOOOOOOO

i just really hope they deliver on this one. i just finished watching the weekly best/worst tracks video by anthony fantano (theneedledrop) and he put arabesque in the best tracks of the week segment. while talking about the track he expressed a feeling that i really resonated with: while i’m super excited for a new album, 16 tracks just means more chance for them to drop some duds. i’m reaaaally hoping they just come out with a fantastic record that unites the community again and gets them good critical success. i just want them to blow me away like they used to.

Someone gets it! Hahaha. Your words ring true...for those who don’t quite get the astounding nature of this collaboration, it’s like if the Bee Gees teamed up with Phillip Glass and Miles Davis. Or something to that effect.

holy....for people not familiar with jacob collier he’s kind of known in music academia and jazz as somewhat of a genius. his voice is wonderful and his knowledge of music theory is greater than probably 99% on the planet. jacob also has a fantastic handle on pitch and harmony; he has jazzy covers where he sings in the key of g half sharp. this is so exciting to hear that coldplay worked with him!

there you go again. making me excited. just imagine

don’t do that. don’t give me hope.

i mean it’s different and great and all for them but we’re still dealing with coldplay here, not aphex twin. i will say though i agree with annie mac; this sort of pop isn’t similar to anything out at the moment, it’s really unique in that sense while also being unique for coldplay, which is great.

that’s what i got from it as well. and the vibe of the song represents how they want to feel, and it’s all a “i want to be happy and distracted from the tragedies of war, so i’m gonna party like there’s no tomorrow” kind of song. plus, knowing chris’s public persona, and what the band has stood for since their inception (free trade, love not war, etc.) i doubt the lyrics are flippant in any way.

i don’t think of call it his best basslines or anything...i think people like it so much because it sounds so characteristic of his natural playing style and what he aspires to be as a bassist. it’s simple, but it’s funky and it pops and he plays the butter notes, not just 1/5 1/5.

hahaha that’s a saxophone (i believe tenor or alto) in the mid of the song. on the right track though!

I believe 2..

I also did listen. All I’m gonna say is holy shit. Like HOOOOOOOLLLLY shit.

where are you guys hearing “heart goes boom boom boom”?

Ghost Stories was the first Coldplay album I was aware about close to release date and so it always will hold a special place in my heart. The lyrics though subpar on a lot of tracks are very great and emotionally provoking on tracks like Always in My Head, Fly On, Midnight, and Oceans. I also adore the atmosphere of the album and the soundscapes that were created during the creation of the album. To me the, in the music, there is almost never a dull moment, and I love that. But like I sort of touched on, not everything about Ghost Stories is great, even just pertaining to the music. So i'm actually deciding to create a Ghost Stories Remastered, inspired partly by Dexynboy's edits and SprayCanSoul's edits, but also by my love to create music. I'm gonna make a thread about it but I expect it to be ready in a few weeks so if you have a chance check it out. Ghost Stories is probably in my top 3-4 favorite Coldplay albums.

I doubt it will be a new song just because of the fact that they probably haven't had time to record it in the studio at all since they've been touring so much.

Can you explain how to go about this?

I feel the same way as the person you quoted. I think they are, or at least were, very talented songwriters. And see that's the problem right there. In some newer songs I can still hear remains of their former genius, but it's just not hitting me like it used to. I don't know if many realize but Chris Martin is extremely lucky. He has little technical ability, wasn't raised in a musical family, but was born with the gift of songwriting, which pretty much rocketed him and his band to stardom. And now, it doesn't seem like he doesn't realize this because I'm not hearing any of his great songwriting talents shine through on any of the newer work. Now don't get me wrong, I enjoy the new albums (not AHFOD much anymore though) and I have constantly tried to defend them from criticism from Oldplayers. But despite that, I still realize when bands aren't working to their full potential, and with Coldplay, that is what's happening now. And it makes me very upset.

So the triton rack just comes with all of those sounds?