Trouble Will Find Me by The National

Trouble Will Find Me. (The National)

Old wine in the new bottle as The National comes out of the closet to be more approachable, remain just as classy.

Album Rating: **** (4/5) 

Follow up to epic albums are always the toughest. People expect you make something better but The National have improvised by making something 'different'. Not a complete departure from their original sound, they have been successful in attaining a synthesis of previous work wrapped in captivating melodies and relatable writing from Matt. Whereas their last work, “High Violet”, was a dive in hopeless tragedy and sadness, “Trouble Will Find Me”, regardless of the album name and cover art, is relatively more upbeat but the keyword here is ‘relatively’.

The National have never been a popular live act to the point that Matt had to once leave the stage midway wondering if the band fits in the world stage of Rock. In contrast, the new single features them jittering in a room and a kid dancing to their tune. Exuberating confidence and impulsiveness, yet successfully retaining the same class that Matt exhibits when he sips wine on stage, The National announced their comeback. Aaron Dessner, the guitarist, had promptly declared "The songs on one level are our most complex, and on another they're our most simple and human", the latter notion being very unlike Matt. But in this record he tries to penetrate the casual listener through non-complex, direct and beautiful songs. The Brooklyn based outfit return to the Indie scene with an album full of life, grander, more collaborative and experimental, representing a band on its prime, a band who had issues but they have sorted themselves.

Starting on an acoustic note, Matt enters “I Should Live In Salt” with an unfamiliar non-baritone emphasised voice. Not playing to his strengths yet succeeding, this opener was probably written right after their last album. The slow build up eventually leads to heavy chorus expressing demise, both of the non-understanding nature. Following is the lead single from the album, “Demons”, which has Berninger in a conversation urging “I can't fight it anymore, I'm going through an awkward phase. It showcases perpetual fight within his belief, and failed trials of happiness with lyrical outburst declaring that “When I walk into a room/I do not light it up”.

Akin to “Slow Show”, “Don’t Swallow The Cap”, follows the tale of a faint positive spirit of a man who has always written sad and depressed music but is now shifting to a more experimental albeit lovable part of the their music. As the song disappears into mechanical beats, Matt sings "I am never alone, I'll never be. Into the bone, I'll never grieve, and if you were to see me cry, play ‘Let it be’ or ‘Nevermind’". Missing sadness and tragedy? Enter “Fireproof”, essentially a break up song, and filler in this record, it begs

for the grief to be undone. A catchy and a tribute to the album title, “Sea Of Love” has repeated rhythmic drums all over saved by Matt’s song writing.

By this point in the album you get the urge to bring back the old vine, the baritone.  And majestically it enters in “Heavenfaced” and “This Is The Last Time”.  With lyrics, “I could walk out but I won’t, in mind you are in my arms” and the latter featuring clear alcohol influence with “Jenny I am seeing double, I know this changes everything”, it binds and compels the listener to connect emotionally to a place previously unheard of. Following a mid western guitar riff into the first half the song casually progress into epitome rise with shouts of ‘I won’t be waking anymore’. The last minute is perhaps the most beautiful portion of the record as Matt’s voice melts perfectly with background vocals and harmonies.

“Graceless” is the usual work which leaves no impact but serves as a unnecessary filler. “Slipped” is homecoming for the twin guitarists, Dessners, with gentle drum rhythm by Bryan. The riff, inspired by a Dylan song, reminds you of a mundane city life, albeit a Dallas summer and focuses on nostalgia, of lost love.

What follows next is perhaps the most surreal, sublime, magnificent and spellbinding cry in times of desperateness, “I Need My Girl”. Reminiscent of the beauty this band possesses, the chiming guitar riff fits perfectly with the drums and melancholy of separation from loved ones. This song aids in soul searching and takes you into different conscious level altogether. Closely comes “Humiliation”, a mix of R.E.M. and Radiohead but sustaining The National stature of its own brand with expectantly good lyrics. In the penultimate track, “Pink Rabbits”, piano finds a way into a laid back picture depicting the late bar-chats, the monotonous night schedules, the street runs and other mundane city poisons. Everything ends with a subtle guitar tone in “Hard To Find”, a fitting tribute to this grand, mature and nostalgic record as Matt’s voice takes centre stage and this final sorrow transfers from him to us.

The National have always been enigmatic. The album contains some great moments, but particular events when the sadness takes over, the record shines through. Although it does not have the flare of 'The Alligator', the majestic riffs, or the meaningful and comprehensive nutshell lyrics of 'Boxer', and the epitome of sadness generated by 'High Violet', the band goes onto show a mustered and mature style, a blend of all the good parts, along with the reminiscent acceptance that they're a band who progresses better while they play and showcase solitude. “Trouble Will Find Me” again successfully creates an aura of sensible and calculated fears, of a dead albeit raw and untouched part of our brain and semblance of the songs in our life, which is unhappily resented, showing exasperation and alienation to one's inner self. Mr. Berninger, you guys might have just released the best record of this year, Cheers! Grammies will find you, eventually.

Key Songs: I Need My Girl, Heavenfaced, This Is The Last Time, Don't Swallow The Cap. 

Tracklisting:
1. I Should Live in Salt (4:08)

2. Demons (3:32)

3. Don't Swallow the Cap (4:46)

4. Fireproof (2:58)

5. Sea of Love (3:41)

6. Heavenfaced (4:23)

7. This Is the Last Time (4:43)

8. Graceless (4:35)

9. Slipped (4:25)

10. I Need My Girl (4:05)

11. Humiliation (5:01)

12. Pink Rabbits (4:36)

13. Hard to Find (4:13)

The review is a combined effort by Akash Ahuja (http://www.facebook.com/Akash.Conversation16) and me. 
Do leave in your comments and reviews.

Strangeland by Keane

Strangeland. (Keane)

Classic example of a band taking a retreat after alienating fan base with a departure from the main sound.

Album Rating: *** (3/5) 

One could see this coming.  From the first insights in the album trailer to the lead single “Silenced By The Night”, Keane were ready to return home, back to pleasing fans. They seem to be hurt badly by the reception of their last album “Perfect Symmetry” and the most recent EP “Night Train”. While the latter seems to be experimentation gone horribly wrong, the former remains highly under rated as compared to their first two records.  

An epic debut can sometimes be a bane for many bands as anything and everything that they do gets compared to it. Figuring out how to approach their later records remains the key.  Keane were quite successful with the follow up in “Under The Iron Sea” and Tom Chaplin is trying to utilize the same in this album with Tim Rice-Oxley’s keyboard playing the lead character. 

Ushering optimism from the first few seconds only, Tom declares “Fearful child have faith, you are shielded by the hand of love”. Adhering to the classic LP style, they have managed to confine the sparkling choruses in the first half mainly announcing their return to how people knew them best. It doesn’t get better than the first single “Silenced By The Night” which is the highlight and fairs equally with the classics such as “Somewhere Only We Know”. The twinkly piano remains a constant throughout with the anthemic build up, a crescendo so uplifting that Mr. Chaplin sounds more convincing than ever.  Announcing “You and I, we gonna rise again”, (perhaps the best moment of the record), it sets the tone and expectations ever so high. Sadly, the rest fails to live up to it, somewhat.

The second single, “Disconnected” is a grower with voice modulation and stylistic vocals the extent of experimentation on this album.  Tailor made for radio, this song keep you holding long enough to get the infectious melody stuck in your head for a while. “Watch How You Go” is a generic track, more so like a filer, with the usual and soothing, yet ever so common piano theme in the background. What follows next is a song that has been in the pipeline for quite a while now, “Sovereign Light Café”. Keane have played this song way before during their live performances and its reception forced them the addition and rightfully so. Bursting with energy and triumph chorus, this is a highly Springsteen reminiscent affair and Oxley sounding too desperate to get back to his piano rock roots with “Why did we ever go far from home?” 

Missing vintage pop tunes? Enter “On The Road”, sounding more hollow than their little love affair with K’Naan. The song writing gets cliché, the tunes get glittery and forcibly Pop. A slight improvement of the same does occur in the next track “The Starting Line” with a more soulful approach with better instrumentation although it fails to leave a major impact. Nonetheless, it does hold a sweet tune to precede the Radiohead-esque “Black Rain”. Seem to be taken from the post Kid-A phase of Radiohead, the sceptics might complain of a rip-off but Rice successfully manages to build a haunting set up long enough for “Neon River” to arrive and take control.

This song from a part of few saving glimpse of the second half, with a nicely structured backing vocals and enjoyable rhythm section to go along. But it all starts to go downhill from there with a couple of songs that follow immediately.  “Day Will Come” and “In Your Own Time” is highly uninspired and seems rushed for the completion of the album. The songs are neither catchy nor lyrically strong, a lot of it majorly forgettable. Lack lustre and seemingly a failed Snow Patrol attempt doesn’t help in the later track. Tom looks reluctant and hurried with his singing and the producers seems to be majorly at fault at not pointing out the band for omission of such tracks to make it to the ‘Strangeland’.

Thankfully enough it all ends on a good note with “Sea Fog”, reminding us of a classic “Hamburg Song” approach and a serene, calm piano with a majestically beautiful vocal performance by Tom. The song exemplifies that Keane can pull of a meditative track too along with the highly anthemic tunes. Rice rightfully sums up the entire effort and it seems that knowingly he declares “And I won’t fight through the rising tide, if that’s the way it has to be”. They haven’t fought, they haven’t given up either, they seem to keep everything on a stand by playing it safe and adopting more of “wait-and-watch” approach. The bonus tracks are rather failed attempts at making generic tunes and should be skipped. 

Brit pop has seen some major bands with the likes of Coldplay and Radiohead being offensive in their ways to depart from their usual sound and risking their loyal fan base for producing something new and creative. While Keane seemed to be on their way, they have now hurriedly completed the cycle with reverting back to the old formula and on “Strangeland”, they have not ventured into anything new with some catchy pop melody and mildly uplifting tracks. It is far from a triumphant return but somewhat satisfactory. 

Key Songs:  Silenced By The Night, Sovereign Light Café, Sea Fog. 

Tracklisting:

1. You Are Young (3:35)

2. Silenced By The Night (3:16)

3. Disconnected (3:57)

4. Watch How You Go (3:40)

5. Sovereign Light Café (3:38)

6. On The Road (3:56)

7. The Starting Line (4:12)

8. Black Rain (3:46)

9. Neon River (4:52)

10. Day Will Come (3:11)

11. In Your Own Time (3:43)

12. Sea Fog (3:25)

Do leave in your comments and reviews.

Best of 2011: Albums, Songs and Live Acts.

This is a new start of the decade for Rock Music and it could not have been any better.  Last year was grim seeing how many excellent albums failed to chart and come into the limelight (My list for 2010’s album and songs of the year respectively: http://www.the-secret-chords.blogspot.com/2010/12/top-10-albums-of-2010.html and http://www.the-secret-chords.blogspot.com/2010/12/top-25-songs-of-2010.html) but this year saw the release of many commercially and critically successful albums with Foo Fighters, Radiohead and Coldplay emerging as clear winners. Not only this, all the major live acts successfully entertained the audiences all year long.

Top 10 Albums of 2011

It is tough to choose among so many anticipated releases and the fact that most of them lived up to their expectations makes it even more difficult.
Somehow managing to come up with Top albums we have the following:

#1 Foo Fighters - Wasting Light (Review: http://www.the-secret-chords.blogspot.com/2011/05/wasting-light-by-foo-fighters.html)

#2 Youth Lagoon - The Year of Hibernation

#3 Coldplay - Mylo Xyloto (Review: http://www.the-secret-chords.blogspot.com/2011/10/mylo-xyloto-by-coldplay.html)

#4 Radiohead - The King of Limbs (Review: http://www.the-secret-chords.blogspot.com/2011/02/king-of-limbs-by-radiohead.html)

#5 Wilco - The Whole Love

#6 Bon Iver  - Bon Iver, Bon Iver

#7 Explosions In The Sky - Take Care, Take Care, Take Care

#8 Fleet Foxes - Helplessness Blues

#9 Florence and the Machine – Ceremonials

#10 PJ Harvey  - Let England Shake

Top 15 Songs of 2011

This category stems from the fact that even few disappointing albums (read “I’m With You by Red Hot Chili Peppers” Review: http://www.the-secret-chords.blogspot.com/2011/09/im-with-you-by-red-hot-chili-peppers.html) had songs which were memorable and following is the list for it:

#1 Walk – Foo Fighters

#2 Us Against The World – Coldplay

#3 Think You Can Wait - The National

#4 Codex - Radiohead

#5 Piledriver Waltz - Alex Turner

#6 Under Cover of Darkness – The Strokes

#7 St. Peter's Cathedral - Death Cab For Cutie

#8 Love is a Laserquest – Arctic Monkeys (Album Review: http://www.the-secret-chords.blogspot.com/2011/05/suck-it-and-see-by-arctic-monkeys.html)

#9 Discoverer - R.E.M.

#10 Holecene - Bon Iver

#11 Jump Into The Fog - The Wombats

#12 Stop The Clocks - Noel Gallagher

#13 Vaccines - Blow It Up

#14 This is Why We Fight - The Decemberists

#15 Brendan's Death Song – Red Hot Chili Peppers

Top Live Acts of 2011

Huge festivals with the likes of Glastonbury, T in The Park, Lollapalooza made this an eventful year with headliners creating immense impact along with other Rock acts who made their presence equally felt. Following comprises the best among them:

#1 Coldplay

#2 Arcade Fire

#3 U2

#4 Foo Fighters

#5 My Morning Jacket

#6 The Flaming Lips

#7 Beirut

#8 LCD Soundsystem

#9 The Kills

#10 Portishead

Post in your Top Album, Songs and Live Acts in the “Comments” section. 

Fallen Empires by Snow Patrol

Fallen Empires. (Snow Patrol)

They are not jumping in the elite league with this but do manage to keep their heads above the ordinary level.

Album Rating: *** (3/5)

Often referred to as “Celtic Coldplay”, Snow Patrol try hard to break this mould and eventually end up drawing comparisons to U2 and their Zooropa era in their latest offering “Fallen Empires”. Produced by Jacknife Lee, who holds a reputation of pouring in unnecessary emotions especially in lyrical context, this album won’t do a great deal to change that.   

The intentions were quite clear after the release of “Just Say Yes” in their ‘Best of’ series “Up To Now”. They were trying new things in the studio, particularly in the electronica section.  Bringing synths seems to be the new trend but it equally backfires fast enough if it misses the attractiveness that great pop songs over the time have succeeded in achieving. This is exactly the case with few songs on the record as it stretches to their lengthiest effort yet, spanning for almost an hour.  But there are moments on the album that jump out and become memorable although most of it remains groovy and safe, much to the pleasing of casual listeners. 

 “Fallen Empires” starts off in a rather unimpressive manner with “I’ll Never Let Go” which seems like a rip off from the latest “Tron” soundtrack and is easily forgettable.  The lead single, “Called Out In The Dark” is a danceable track with four-to-the-floor beats and enjoyable rhythm overall with Gary declaring “This is your life, This is your time”. With “Weight of Love”, Snow Patrol enter the familiar territory with bass line that ran throughout their entire previous albums and they try to get epic with gradual build up to a choir laden ending. One of the major complaints lodged against the band has been a lack of soul that U2 have and this song does nothing to change that perception. But the respite comes in the form of second single “This Isn’t Everything You Are”.

Retaining their trademark sound, Lightbody indulges in self-pity and one can easily make out the “Here-comes-the-heavy-chorus” moment by the epic melancholy of piano chords that recur like a symphonic motif. With a major uplifting hook and heavy bass similar to “Crack The Shutters”, this song remains their best work in the record and a deserving single. Bringing in some vintage (and by which I refer to pre Final Straw era) element, Gary creates imagery of innocence and simplicity with nostalgic reference to the river, church and setting “The Garden Rules”.  Backed up by a powerful female backing vocal, this song provides for a lighter side before the guitars come crashing in the album title track “Fallen Empires”. Impressive and urgent bass runs through the entire song which samples the band’s dramatic guitar rock and heavily produced affair, two terms that can describe the entire record.

“Berlin” is a short, sweet and simple filler featuring hymns before “Lifening” enters with a start almost identical to the second single but gradually creates its own impression with beautiful lyrics (“Ireland in the world cup, either north or south”). In the song writing department, Snow Patrol have rarely penned anything noteworthy and most of it is straight forward confession of feelings but perhaps that is what distinguishes them from bands like “Arctic Monkeys” and this song is a step forward in the same direction. Gary’s bruised voice commences “New York”, a track full of sparkle, warmth and inspired use of trumpet making it emotionally stirring. 

“In The End” is very generic and doesn’t leave any impression whatsoever on the listener. It is a testament of the fact that they have stretched the record unnecessarily. (“We lost the magic that we once had”). Have they? If the next song is to suggest then “Yes” because “Those Distant Bells” though boosting of some strong vocals mostly lacks luster that binds up a great acoustic song.  

Missing dance tracks? Enter “The Symphony” with sublime pop and charming sing along, a new refreshing take on their usual approach to such songs, it doesn’t build up to something epic, a welcome change. “The President”, relegated to the end of the album seems like a solo effort but Gary’s tragical voice fits surprisingly well with the lyrics (“It’s broke before you know it, before you knew what it was for”) after which an instrumental brings the album to a close. 

With this record, they might not decrease their chance of ending up on credits of Grey’s Anatomy. Clear inspirations from LCD Soundsystem and Elbow combined with many writers block that Gary had, “Fallen Empires” is plagued with absence of songs that can be generally classified as “great” as most of it is nice, sweet and simple. The band itself tries to be bigger without the presence of catchy hooks, doesn’t leap forward heavily but relies on subtle tweaks to their style just for the sake of bringing something “new”. Sticking too rigidly to their formula (anthems) and the large duration of the record might be a downside but they have put in a spirited effort which should be complemented for.  Sadly, the praising stops here.

Key Songs:  This Isn't Everything You Are, Lifening, Fallen Empires. 

Tracklisting: 
1. I'll Never Let Go (4:44)

2. Called Out In The Dark (4:01)

3. The Weight Of Love (4:17)

4. This Isn't Everything You Are (4:58)

5. The Garden Rules (4:29)

6. Fallen Empires (5:20)

7. Berlin (2:05)

8. Life-ning (3:53)

9. New York (4:01)

10. In The End (4:00)

11. Those Distant Bells (3:17)

12. The Symphony (6:07)

13. The President (4:35)

14. Broken Bottles From A Star (Prelude) (1:30)

Do leave in your comments and reviews.

Poll Results.

Here are the results for the poll conducted for the previously reviewed albums:


I'm With You by Red Hot Chili Peppers

Votes: 20


Average Reader Score: 3



Mylo Xyloto by Coldplay

Votes: 27

Average Reader Score: 4.29


Thanks everyone for voting!

Mylo Xyloto by Coldplay

Mylo Xyloto. (Coldplay) 

It’s not their “Achtung Baby”, it’s their “Mylo Xyloto”.  

Album Rating: **** (4/5)

Comparing Coldplay to U2 is one of the easiest things to do.  It’s simple to understand though; both have massive appeal, are charitable and after this album Coldplay will join U2 to become easy targets for Indie snobs to feast upon. 

Follow up to an epic album is much harder than a disappointing one. The expectation are high, the comparison inevitable and fetching for similarities evident.  In this case “Viva La Vida or Death and All His Friends”, an album which not only established Coldplay as “The Biggest Band of The World” but saw their creative juices flowing to an ever high.  So how do you plan for the next album? By naming it “Mylo Xyloto” of course. 

Original ideas are hard to find.  But christening your record to words which have no place in Dictionary or any meaning is evidence to lengths to which the band can go for marking a whole new impression on listeners. Started off as an acoustic album, “Mylo Xyloto” was previously planned to act as a soundtrack to a movie, pieces of which are evident in the record.  Influences from other popular music styles (RnB, hip-hop, electronic etc.) cropped in and it soon turned into a composite of everything. A dynamic mix to convey a story and hence Coldplay’s first concept album is born.

Few seconds in and the Xylophones rush in providing an interlude to “Hurts Like Heaven”. The protagonist enters all confused (“'Do you ever get the feeling that you're missing the mark?”) and insecure (“'I struggle with the feeling that my life isn't mine”). Themes that Chris has explored all throughout “X&Y” but the execution has never been this perfect. Inspired by German graffiti (“White Rose Movement”) this one clearly has Jonny in total control with gorgeous riffs and many tweaks during production to make it sound more beastly and falsettos right at the end make it an essential listen.

Enter our female lead (presumably) in “Paradise”, second single and major influence of RnB and Hip-hop elements especially with drumming. This song conveys escapism from reality (or rather harsh truth) to make believe Paradise. Piano and guitar (although in minority) land at required places but the string arrangements is a clear winner here.

What follows next is the highlight of the record, “Charlie Brown”, which features meeting of our two leads and how they take refuge together (“Took a car downtown where the lost boys meet”) and wishful plans (“We'll run riot, We'll be glowing in the dark”) in such oppressive environment. The song manages to keep you hooked with addictive guitar rhythm, energetic flow and an outro which surprisingly doesn’t seem out of place rather completes this next bound to “smash hit” single.

An unearthly, sublime guitar riff paves way to one of the most beautiful song that Coldplay have every written or composed.  “Us Against The World” (as the title suggests) is about how both the characters find solace, hope and strength from the difficult times and how they still dream of not only escape but also starting all over again. Will Champion lends his voice to this magnificent, hypnotising, organ filled emotional ride. Simply stunning.  

Another interlude (M.M.I.X.) builds up to first single of the record “Every Teardrop Is a Waterfall”. This song is their attempt at making something which is uplifting, inspirational and dancy at the same time.  The “wa-wa-waterfall” part might not be the best idea ever though. Feeling wicked? Jonny assumes a bad a** role in “Major Minus” with high pumping guitar solo and backing scratch among other things. With the context of the album and story flow many changes have been done such as voice muffling, alien sounds, simultaneous singing to portray Paranoia. (“Got one eye on the road and one on you”) fear of being watched and constant betrayal.

A short, simple acoustic track (“U.F.O.”) finds our protagonist with courage and distant hope (“Let's fly, split the sky”) until it all comes crashing down in “Princess of China”. Essentially a break up song among the leads (“Once upon a time on the same side”) it features Rihanna and it works surprisingly well. Synths, uneasy computerized sounds and total absence of other band members, this one is different than anything they have done before and it's bound to polarize views.

A last minute addition “Up In Flames” (James Blake-isque) is an immensely tragic and highly depressive track conveying hopelessness (“Up in flames , We have slowly burned”) until Chris slowly whispers at the end "Can we pour some water on?". Mesmerizing. Another interlude gives into “Don’t Let It Break Your Heart”, an explosive penultimate track very similar to “The Killers”. The drums are heavy but Jonny's persistent play (minimal but at important points) features ending with flashy sound patches and heart-beat bass makes it more graphical.

Mylo Xyloto final draws to a close with “Up With Birds”, a meditative first half where our lead seems to be content with the loss and just watches the silver lining (“It's a spark in a sea of grey”), Chris almost gives in and escapes (“My arms turn wings”) but the flight turns slowly with the bird call (yes, there are bird noises) as Jonny lends his final riff of optimism.  Sheer courage without despair (“Even though all my armour might rust in the rain”) as love finally triumphs over fear.  Cheesy yet enchanting.

Never have Coldplay paid such high attention to detail. They have worked their heart out to get it right, to convey a message, to paint a picture, to make it more graphic. Some may call it “over-produced” but it’s important to know that everything (from addition of noises to effects) was carried out to say a story (as stated above).  This album hits out emotionally in much more direct ways than “Viva La Vida” ever did and Jonny assumes a lead role for most of the parts.

With Mylo Xyloto, Coldplay have managed to enter the new decade with an album that showcases not only their versatility but also the intent of staying relevant by re-inventing themselves time and again.

It’s not their “Achtung Baby”, it’s their “Mylo Xyloto”.  

Key Songs: Us Against The World, Charlie Brown, Hurts Like Heaven.

Tracklisting:
1. Mylo Xyloto (0:42)
2. Hurts Like Heaven (4:02)
3. Paradise (4:37)
4. Charlie Brown (4:45)
5. Us Against The World (3:59)
6. M.M.I.X. (0:48)
7. Every Teardrop Is A Waterfall (4:00)
8. Major Minus (3:30)
9. U.F.O. (2:17)
10. Princess of China (3:59)
11. Up In Flames (3:13)
12. A Hopeful Transmission (0:33)
13. Don't Let It Break Your Heart (3:54)
14. Up With The Birds (3:45)

Why I am not giving up on Coldplay, yet.

Two singles on and Coldplay are on the verge of marking themselves as “sell outs”, not by the general people but by their own fans. The general public had termed them that after they became famous ages ago. It’s very easy to join the hate wagon and start criticising the change in direction that the band may be adopting. I use the word “may” because sometimes things aren’t exactly what it seems.  What people have presumed from the songs that they have heard till now is that “Coldplay have gone Pop” and it’s hard to break that mould if you listen to “Every Teardrop Is A Waterfall”, the lead single. 

Coldplay have always been an “album band”, which means that one needs to listen to the entire record at a complete stretch to decipher anything. “Mylo Xyloto” was made keeping the same purpose in mind and the entire album runs around a centralised theme involving two major leads overcoming difficult times and situations.  With such a concept album in reckoning, the job of choosing a single is hard and you have two choices – Choose songs which you think are good but won’t go well with the casual listening audience or select songs which are (if not better) very radio-friendly and would expand your audiences many fold. Coldplay, unfortunately went for the latter. It seems that they want to cater to uncharted territory while risking the old/loyal fans.

Risking or playing safe has been an immense duality in Chris’s mind. Many people would think that they are in their comfort zone while churning out two popish tunes as lead singles, that couldn’t be farther from truth. They have attempted something out of their domain and succeeded at it. “Paradise” is an nice tune and a good song for casual listeners to feast upon. But the part where it all seems to go wrong is for those who are expecting Chris and the boys to make something that they could attach themselves to. Song like “Fix You”, “Yellow”, “The Scientist” etc. which is vintage Coldplay and fans instantly associate with it and absence of such classics only increases frustration and loss in certain credibility of the band.

The signs right now, for a die-hard fan is looking grim. The vibe around the built up to the album is that of doubt, fear and uncertainty. Not something new but with the news of a Rihanna collaboration the same increases many folds. Coldplay have always been mainstream and this partnership, although surprising, is not totally out of context. If the album required a female lead vocalist to act as fillers, note I say “fillers”, and if Rihanna has done that very job then there’s nothing to panic about. On the other hand, if it’s another churned pop tune for single sake it could turn lead to loss in respect and loyalty of several fans.

Many bands, in this age, have lost their relevance by dishing out the same material over and over again (read ‘Nickelback’). Coldplay could have easily gone with “Parachutes 2.0” and pleased the hard-core fans and even to expect such a thing now would be nothing short of foolishness. Bands evolve; “Viva La Vida” from “X&Y” was a part of that process. Is “Mylo Xyloto” a step towards the same? The answer to that shouldn’t be given by anyone until they have heard the record completely. Even to judge it by singles that has been out is nothing short of throwing a dart in the dark. Because if the released songs are to taken into consideration Coldplay can be headed two ways – U2’s “Achtung Baby” era where they increased their versatility (while still maintaining relevance) several notches up or they descend into “Pop” era where they hit an all-time low in creativity.

Several decisions like releasing “Charlie Brown” as the second single or avoiding over production in the studio versions of the songs is something that they should have pondered upon. This record will have a mix of everything, from Popish to tune to classic Coldplay (“Us Against The World”) and if they manage to keep the story of the album going with such diversity, it will garner respect from every critic.

Skeptic, admirer or hater, everyone is having a say on the proceedings right now with the latter dominating heavily. I, for once, have yet not given hope of a Coldplay album that would amaze me just the way “A Rush Of Blood To The Head” or “Viva La Vida” did. I am still ready to defend this band and any change in such a stand will not happen before 24^th October.  I am not giving up on Coldplay, yet.