Philaflava.com ::

front to back, great great shit.

fix you =




speaking of which this has been a extrememly weak first half of the year for rock albums mostly, and really just albums in general.

Is this the new Coldplay album?

cascarrabias wrote:Is this the new Coldplay album?

Yeah. I like it, but have only gotten like 7 tracks in. Maybe it needs to grow on me, but so far I am not really impressed. I've never really been a big Coldplay fan, but I have loved some of their singles (Clocks, Yellow).

ChristPuncher wrote:

cascarrabias wrote:Is this the new Coldplay album?

Yeah. I like it, but have only gotten like 7 tracks in. Maybe it needs to grow on me, but so far I am not really impressed. I've never really been a big Coldplay fan, but I have loved some of their singles (Clocks, Yellow).

Their albums generally take me about a week of solid listening before I get into them. 'A Rush of Blood to the Head' became one of favorite albums of its year after about one or two weeks. Give it time.

Is it better than "Rush of Blood to the Head"?

I am looking forward to this..the problem for me is their albums take about a week to grow on me, then after about a week they get so sappy and tiresome to listen to...still, they are awesomely talented and great at making epic sounding tracks.

i'm a coldplay fan and all...... but, i'm not likin their new single.

upon first listen... wonderful album.

It's good. It's not as melancholy or something, which in my opinion is a bad thing. Coldplay was always the epitome of mood music.

SOFT

COCK

ROCK

jimmy78 wrote:SOFT

COCK

ROCK

for fucks sake. if you yanks hadn't decided you liked coldplay, we probably wouldn't be hearing them now. WHAT HAVE YOU DONE!

Coldplay is worthless. It's pointless to buy their CDs now, when you'll be able to pick them up at any thrift store in the country for the rest of your life.

zizek wrote:Coldplay is worthless. It's pointless to buy their CDs now, when you'll be able to pick them up at any thrift store in the country for the rest of your life.

Thanks, I'll tell all my friends. What other CDs should we not buy? I dont like buying worthless things (even if the music is good)

Choke wrote:

zizek wrote:Coldplay is worthless. It's pointless to buy their CDs now, when you'll be able to pick them up at any thrift store in the country for the rest of your life.

Thanks, I'll tell all my friends. What other CDs should we not buy? I dont like buying worthless things (even if the music is good)

I'm confused, if the music is good then we can't be talking about Coldplay.

I'm not really checking for this. Their newest single is garbage. Speed of Sound ha.

zizek wrote:

Choke wrote:

zizek wrote:Coldplay is worthless. It's pointless to buy their CDs now, when you'll be able to pick them up at any thrift store in the country for the rest of your life.

Thanks, I'll tell all my friends. What other CDs should we not buy? I dont like buying worthless things (even if the music is good)

I'm confused, if the music is good then we can't be talking about Coldplay.

No, pardon me, I forgot you were who everyone needed to check with on what's good or not. Please let me know what I should buy this coming Tuesday instead.

tpp wrote:for fucks sake. if you yanks hadn't decided you liked coldplay, we probably wouldn't be hearing them now. WHAT HAVE YOU DONE!

Coldplay is

Coldplay =

Coldplay = good music that may be emo but is certainly not

Choke wrote:No, pardon me, I forgot you were who everyone needed to check with on what's good or not. Please let me know what I should buy this coming Tuesday instead.

An egg salad sandwich.

From today's New York Times

THE CASE AGAINST COLDPLAY

The grandiose, calculated self-pity of the decade's most insufferable band.

By JON PARELES
Published: June 5, 2005
THERE'S nothing wrong with self-pity. As a spur to songwriting, it's right up there with lust, anger and greed, and probably better than the remaining deadly sins. There's nothing wrong, either, with striving for musical grandeur, using every bit of skill and studio illusion to create a sound large enough to get lost in. Male sensitivity, a quality that's under siege in a pop culture full of unrepentant bullying and machismo, shouldn't be dismissed out of hand, no matter how risible it can be in practice. And building a sound on the lessons of past bands is virtually unavoidable.

But put them all together and they add up to Coldplay, the most insufferable band of the decade.

This week Coldplay releases its painstakingly recorded third album, "X&Y" (Capitol), a virtually surefire blockbuster that has corporate fortunes riding on it. (The stock price plunged for EMI Group, Capitol's parent company, when Coldplay announced that the album's release date would be moved from February to June, as it continued to rework the songs.)

"X&Y" is the work of a band that's acutely conscious of the worldwide popularity it cemented with its 2002 album, "A Rush of Blood to the Head," which has sold three million copies in the United States alone. Along with its 2000 debut album, "Parachutes," Coldplay claims sales of 20 million albums worldwide. "X&Y" makes no secret of grand ambition.

Clearly, Coldplay is beloved: by moony high school girls and their solace-seeking parents, by hip-hop producers who sample its rich instrumental sounds and by emo rockers who admire Chris Martin's heart-on-sleeve lyrics. The band emanates good intentions, from Mr. Martin's political statements to lyrics insisting on its own benevolence. Coldplay is admired by everyone - everyone except me.

It's not for lack of skill. The band proffers melodies as imposing as Romanesque architecture, solid and symmetrical. Mr. Martin on keyboards, Jonny Buckland on guitar, Guy Berryman on bass and Will Champion on drums have mastered all the mechanics of pop songwriting, from the instrumental hook that announces nearly every song they've recorded to the reassurance of a chorus to the revitalizing contrast of a bridge. Their arrangements ascend and surge, measuring out the song's yearning and tension, cresting and easing back and then moving toward a chiming resolution. Coldplay is meticulously unified, and its songs have been rigorously cleared of anything that distracts from the musical drama.

Unfortunately, all that sonic splendor orchestrates Mr. Martin's voice and lyrics. He places his melodies near the top of his range to sound more fragile, so the tunes straddle the break between his radiant tenor voice and his falsetto. As he hops between them - in what may be Coldplay's most annoying tic - he makes a sound somewhere between a yodel and a hiccup. And the lyrics can make me wish I didn't understand English. Coldplay's countless fans seem to take comfort when Mr. Martin sings lines like, "Is there anybody out there who / Is lost and hurt and lonely too," while a strummed acoustic guitar telegraphs his aching sincerity. Me, I hear a passive-aggressive blowhard, immoderately proud as he flaunts humility. "I feel low," he announces in the chorus of "Low," belied by the peak of a crescendo that couldn't be more triumphant about it.

In its early days, Coldplay could easily be summed up as Radiohead minus Radiohead's beat, dissonance or arty subterfuge. Both bands looked to the overarching melodies of 1970's British rock and to the guitar dynamics of U2, and Mr. Martin had clearly heard both Bono's delivery and the way Radiohead's Thom Yorke stretched his voice to the creaking point.

Unlike Radiohead, though, Coldplay had no interest in being oblique or barbed. From the beginning, Coldplay's songs topped majesty with moping: "We're sinking like stones," Mr. Martin proclaimed. Hardly alone among British rock bands as the 1990's ended, Coldplay could have been singing not only about private sorrows but also about the final sunset on the British empire: the old opulence meeting newly shrunken horizons. Coldplay's songs wallowed happily in their unhappiness.

"Am I a part of the cure / Or am I part of the disease," Mr. Martin pondered in "Clocks" on "A Rush of Blood to the Head." Actually, he's contagious. Particularly in its native England, Coldplay has spawned a generation of one-word bands - Athlete, Embrace, Keane, Starsailor and Aqualung among them - that are more than eager to follow through on Coldplay's tremulous, ringing anthems of insecurity. The emulation is spreading overseas to bands like the Perishers from Sweden and the American band Blue Merle, which tries to be Coldplay unplugged.

A band shouldn't necessarily be blamed for its imitators - ask the Cure or the Grateful Dead. But Coldplay follow-throughs are redundant; from the beginning, Coldplay has verged on self-parody. When he moans his verses, Mr. Martin can sound so sorry for himself that there's hardly room to sympathize for him, and when he's not mixing metaphors, he fearlessly slings clich

At least Coldplay are comfortable with their whiney stadium-rock mediocrity though
Radiohead are far worse, as they actually believe their studio-fart attempt at electronic krautrock is the most original thing the world has heard since "louie louie"

zizek, did you actually read that piece on Coldplay? The author is basically saying that Coldplay is a really good band but he doesn't like them anyway..?

ChristPuncher wrote:zizek, did you actually read that piece on Coldplay? The author is basically saying that Coldplay is a really good band but he doesn't like them anyway..?

He's granting that they are technically proficient. The same can be said for a lot of lame bands. Think 80s Genesis, Van Hagar, or current U2.

i listened to a bunch of snippets from the album and wow... i'm definitely pickin it up.

this shit sounds horrible. this might be the first time im forced to delete something ive just downloaded.

i loved parachutes..but the guy in the article is right...now it sounds so calculated and inauthentic. that nigga aint hurt and lonely, he's fuckin gwyneth paltrow. wack.

Guys, this is Jay-z's favorite rock band.