ALBUM REVIEW: Coldplay's Mylo Xyloto
Coldplay protrudes from the pop-music scene like a thorn - appreciated for standing out among the crowd with its distinctly different take on the mainstream, but all at once loathed for being the prickly, pretentious pop-version of "edgy."
ALBUM REVIEW: Coldplay's Mylo Xyloto
Coldplay protrudes from the pop-music scene like a thorn — appreciated for standing out among the crowd with its distinctly different take on the mainstream, but all at once loathed for being the prickly, pretentious pop-version of “edgy.”
Chris Martin, who cites 1970s New York graffiti as his primary source of inspiration for the album's lyrical, takes the group in the direction of politically charged, pissed-off optimism, if there is such a thing.
The album couples the common, relatable themes of “fighting the man” and “gosh, love sucks” in what could be argued to be a more eloquent and wordy fashion than the usual pop album. The first single “Every Teardrop is a Waterfall,” for example, takes on the simple and increasingly dire theme of “let’s party” and turns it into an elongated, elaborate anthem that's clearly crafted to be embraced by radio rather than hardcore fans. It is, as most things are with Coldplay, brilliant but equally deceptive.
Key album tracks include the opener, energized love anthem “Hurts Like Heaven,” which is flawlessly led in by the title-track intro. Also, the infectious instrumental of “Charlie Brown,” the ethereal “Princess of China” collaboration with Rihanna, and “Paradise,” which is sure to become another staple sampling for Coldplay’s inevitable greatest hits album.
Deeper into the work, you’ll find tracks like “Major Minus,” which instantly gives you the impression that Martin and co. have been listening to a lot of Arcade Fire in the three years since their last major release. This wouldn't be such a bad thing if the tracks actually fit into the groove of the overall album. Similarly, “Up With the Birds” ends things on a somber-but-hopeful note that sounds akin to Sara Bareilles’ Kaleidoscope Heart closer “Bluebird.” Again, not necessarily a bad thing, but aloof when put into the context of the album.
Meanwhile, Mylo Xyloto’s one great strength is also its greatest flaw. Though the album is (on the
whole) a beautifully cohesive, uniquely produced “pop” album that leaves you unusually impressed with the stunning array of technical sound effects, it also finds itself being borderline boring by the time you reach the halfway mark. Martin’s vocals are often drowned in the production, particularly on “Don’t Let It Break Your Heart,” which you’re left feeling could have been so much better with fine tuning. By the time the album ends, you’re left realizing that the best thing about the album is not a collection of masterfully crafted lyrics or haunting vocals, but a stellar production value that, in an ordinary case, would be meant to buffer the two former points as a secondary bonus to the album. Nevertheless, when at its finest the production turns songs that could otherwise be dreary mood killers into exciting head-bangers.
Coldplay is unlikely to win over many new fans with their latest offering, but the loyal fan base should be more than content with this production-heavy, atmospheric followup to 2008’s shining Viva La Vida.
Recommended Tracks: “Paradise,” “Princess of China,” “Hurts Like Heaven” and “Charlie Brown”
Throwaways: “Major Minus” and “Don’t Let It Break Your Heart”
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