Album Everyday Life sendiri terdiri dari dua bagian, yaitu 'Sunrise' dan 'Sunset'. Maka dari itu judul konser album Everyday Life adalah Sunrise & Sunset.Sunrise dan Sunset sama-sama berisikan delapan lagu. Dalam bagian Sunrise terdapat lagu Sunrise, Church, Trouble in Town, Broken, Daddy, WOTW / POTP, Arabesque dan When I Need a Friend.Kemudian pada bagian Sunset terdapat lagu Guns Orphans, Eko, Cry Cry Cry, Old Friends, Benny Adam (ditulis dengan huruf Arab), Champion of the World dan Everyday Life. Sebelumnya lagu Orphans dan Arabesque telah dirilis lebih dulu.Everyday Life merupakan album kedelapan Coldplay sepanjang karier bermusik. Mereka terakhir kali merilis album pada Desember 2015 lalu, bertitel 'A Head Full of Dreams'. Album itu terjual lebih dari 6 juta kopi di seluruh dunia.
JAKARTA, KOMPAS.com - Sejak diumumkan Oktober tahun ini, album baru Coldplay sudah ramai diperbincangkan.
Album ganda band yang digawangi Chris Martin ini akan resmi diluncurkan 22 November 2019.
Album bertajuk Everyday Life akan dibagi dua, yaitu bernama Sunrise dan satu lagi diberi nama Sunset.
Baca juga: 5 Fakta Film Coldplay, A Head Full of Dreams
Sejak diberitahukan bulan lalu, grup band asal Inggris ini telah menampilkan serangkaian promo yang unik.
Dilansir Independent, Jonny Buckland, gitaris Coldplay ini misalnya. Tumbuh besar di Flintshire, dia mengatakan di Twitter bahwa saat mendapat pekerjaan di Daily Post, menempatkan foto dari rumahnya untuk dijual.
Coldplay juga menempatkan iklan di koran Devon's Express and Echo. Chris Martin dari Exeter.
Baca juga: Coldplay Dedikasikan Lagu Houston #1 untuk Para Korban Badai Harvey
Iklan itu juga bisa ditemukan di Prancis, Australia dan Selandia Baru.
Lebih banyak lagi poster yang membuat penggemar penasaran karena banyak dirumorkan tentang album yang akan jadi 'eksperimental' mereka.
Selain itu, anggota band juga mulai mengubah gambar media sosial mereka dengan gambar matahari dan bulan, sehingga banyak yang menilai bahwa album 'eksperimental' sedang dibuat.
Sebelumnya, Chris Martin berkata harus kembali ke dunia musik dengan rekaman yang 'bercitarasa tinggi' sebelum tahun 2019 berganti.
Termasuk dengan dua lagu baru "Orphans" dan Arabesque" sampul album Everyday Life, seperti dikutip dari Spin, menyertakan foto Mumford and Son, yang adalah bentuk penghormatan terhadap band kakek dari gitaris Coldplay Jonny Buckland.
Album Everyday Life akan menjadi album pertama Coldplay sejak album terakhir mereka A Head Full of Dreams tahun 2015.
GenPI.co - Vokalis Coldplay mengatakan sesuatu jelang peluncuran album baru grup band itu pada hari Jumat (22/11). Dilansir dari Independent, ia mengatakan mereka harus kembali ke dunia musik melalui rekaman bercitarasa tinggi sebelum tahun ini berlalu.
BACA JUGA: Jelang Peluncuran Album, Coldplay Mendadak Rilis 2 Lagu Baru
Album baru bertitel Everyday Life ini bisa disebut sebagai proyek comeback Coldplay. Pasalnya grup band asal Inggris sudah 4 tahun vakum. Mereka terakhir kali merilis album pada 2015 lalu, yang berjudul Head Full of Dreams
Everyday Life sendiri sedikit unik dibandingkan dengan yang lain. Sebab, album itu nantinya akan dibagi menjadi dua yakni Sunrise dan Sunset.
Pada bocoran yang dikeluarkan Coldplay dalam sebuah advertorial di koran lokal, Album Sunrise sendiri terdiri dari delapan lagu. Ke-8 lagu itu adalah Sunrise, Church, Trouble in Town, BrokEn, Daddy, WOTW/POTP, Arabesque dan When I need a friend.
Sementara pada bagian Sunset, ada delapan lagu yakni, Guns, Orphans, Eko, Cry CryCry, , Champion of The World, dan Everyday Life. Sebuah lagu lagi judulnya ditulis menggunakan bahasa Arab.
Album ini juga dipromosikan secara besar-besaran sejak bulan lalu berbagai cara unik. Coldplay menempatkan iklan di beberapa koran ternama seperti Devon's Express and Echo. Tidak hanya di negara asalnya Inggris, iklan tersebut ditemukan di Prancis, Australia hingga Selandia Baru.
BACA JUGA: Seolah Tak Pakai Celana, Foto Marion Jola Jadi Sorotan Netizen
Posted on: 11/21/19 at 10:12 am
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(Parlophone) The band’s new double album mixes more of their melodically watertight stadium pop with dabblings in the genres they are least suited to dabble in
The internal psychology of rock bands is a tricky thing for outsiders to fathom but, 21 years on from their debut single, it’s pretty clear Coldplay are driven by two often conflicting impulses. The first is to be the biggest band in the world, a desire that was evident from the start in their amenable, uncontroversial songs dealing in generalities and emotions expressed so vaguely that anyone could relate to them. This instinct made them impressively adaptable, and when guitar rock’s currency crashed, they slipped easily into co-writes with Avicii and pop super-producers Stargate, and arranged guest appearances from Rihanna and the Chainsmokers.
The other is an impulse to experiment. One suspects it’s not something to which Coldplay are naturally suited – invited to compile a streaming service playlist of influences, they opted for pub jukebox crowd-pleasers by Bob Marley, Oasis and REM – but they keep giving it a go, tapping up electronic auteurs Brian Eno and Jon Hopkins for ideas, and releasing concept albums and pseudonymous dabblings in African music.
Facebook Twitter Pinterest The artwork for Everyday Life. Photograph: PR HANDOUT
Balancing continued vast commercial success with something more exploratory is tough to do. U2 pulled it off on Achtung Baby and Zooropa, but have spent the ensuing 25 years trying to remember how. On Everyday Life, Coldplay use the breadth of a double album to try again.
The straightforwardly Coldplay-esque moments sound more straightforward and Coldplay-esque than ever. Only the hazy synth washes of Church tilt towards the more electronic direction of Mylo Xyloto and Ghost Stories. The rest could have come from 2005’s X&Y: U2-ish guitars chime plangently, pianos strike melancholy chords, choruses soar into lighters-out uplift. It’s all melodically watertight, but the things that traditionally annoy people about Coldplay are there too, not least the sense that there’s something too steely and deliberate about their desire to get stadium crowds swaying along. Orphans even nicks the “Woo-woo” refrain from Sympathy for the Devil, which, as craven bids for audience participation go, seems one stop short of halting the song and shouting: “Oggy oggy oggy.”
The lyrical vagueness seems less lovable than ever because the songs generally deal with sociopolitical matters. Until they tack a recording of an incident of racist police harassment on to Trouble in Town, its vague lyrics about the “system that keeps you down” could be interpreted as being about anything from the patriarchy to taxation to the liberal media. The title track, meanwhile, offers a bit of hand-wringing about the state of the world that concludes, as someone else once did, that there are a lot of very fine people on both sides.
Far better are a couple of acoustic tracks with genuine emotional heft. Daddy’s drawing of disrupted paternal relations is really affecting, perhaps because it homes in on the kind of telling detail – “Look, dad, we’ve got the same hair” – Chris Martin usually ignores in favour of the widescreen image. You could suggest Guns contains a hint of equivocation – “Everything’s gone so crazy … maybe I’m crazy too” – but by contrast with the rest of Coldplay’s oeuvre, it’s like something off Flux of Pink Indians’ The Fucking Cunts Treat Us Like Pricks: a splenetic, foul-mouthed burst of rage and bewildered despair.
Facebook Twitter Pinterest Coldplay: Orphans – video
The rest of the album is given over to experiments, with varying degrees of success. Whatever you make of the lyrics of Èkó, which seem indebted to Paul Simon’s Under African Skies, its tumbling, Mali-influenced guitars are irresistible. The instrumentals Sunrise and Bani Adam are pleasant if inconsequential. Arabesque isn’t much of a song but the desert-bluesy groove is nice enough and the blasts of free-blowing sax carry a certain element of surprise.
But the dabblings in gospel (Broken) and bluesy doo-wop (Cry Cry Cry) seem like the result of a long and fruitful search to pinpoint the genres in which Coldplay are least suited to dabbling. The inclusion of WOTW/POTP is baffling. There are plenty of reasons to include a demo recording on an album: if it captures an unrepeatable moment of inspiration or a raw performance impossible to replicate in the studio. But WOTW/POTP does neither. It rambles aimlessly, it stops and starts, then finally collapses with Chris Martin muttering “I haven’t finished that one yet”, to which the obvious response is: “Why don’t you get back to us when you have, mate?”
No more mellow Yellow: why Coldplay are pop's weirdest band Read more
Of course, it’s there as a signifier: that’s right, we’re Coldplay – one of the biggest bands in the world – and we’ve thrown caution to the wind. It’s a laudable intention, but Everyday Life is wildly uneven, held together only by its thematic obsession with religion: disc one (Sunrise) literally ends with a hymn, disc two (Sunset) with Chris Martin singing “Alleluia, alleluia”. You lose count of the references to God, church and prayer in between. What this signifies remains a mystery: has Chris Martin, a lapsed Christian, rediscovered his faith? Is it intended more in the vein of Nick Cave’s recent line about how “it doesn’t matter whether God exists or not – we must reach as if he does”? The answer remains elusive. As, alas, does the balance between world-beating commercialism and experimentation.
This week Alexis listened to
Baxter Dury: Slumlord
Slinky 4am disco groove, dead-eyed female backing vocals, and an authentically horrible performance from Dury in character as the titular horror: funky and flesh-crawling.
For all they've inspired swathes of the most crushingly mundane music of the modern age from Sheeran on down, Coldplay have always been at their best at their most grandiose. That is, when they shake off Chris Martin's I'm-a-normal-bloke schtick and let their romanticism – in melodies, arrangements and fairytale lyrics – fly free. So it sounded promising when it emerged they were releasing a double album full of global influences: maybe they're really going to go for it this time?
In the event, at 53 minutes, Everyday Life is actually shorter than some of their single albums. And for all that it has Femi Kuti's horn section, South African children's choirs, Arabic vocals, retro soul and folk sections, it's all subsumed into a very Coldplay sound. Even though their regular collaborator Brian Eno isn't involved, it relentlessly references Eno and Daniel Lanois's classic productions, and those global influences are incorporated in a very Eighties, Benneton ad, way. Along with his lyrical murmurings about Africa and "ey-oh ey-oh" chants, it all feels very much like Martin is dreaming of performing at Live Aid.
Which isn't to say it's bad. The sound is big, warm and embracing, and Martin's funky-vicar attempts at Big Thoughts about universality of human experience, yearning for god and how hey, isn't the world crazy? are comfortingly gauche. They're at their very best here either when they drop the cosmopolitan affectation and do straight Coldplay rock as on the closing brace of “Champion of the World” and the title track – or stripped to pure, folky acoustic bare bones on album highlight “Old Friends”.
But the writing is clunky, not poetic: for every moment like “Old Friends” where Martin is touchingly direct, there are dozens where he comes over like a stoned teenager who's watched Newsnight with a Tinariwen album on in the background and felt like a visionary. And even with orchestral swells, the grooves and melodies are linear, never soaring like a “Viva la Vida” or “Clocks”. A very pleasant listen, but, given the ingredients and what the band are capable of at their best, maddening in terms of what could have been.
@joemuggs
The double album comes out this Friday
Coldplay have already set their sights on the follow-up to their forthcoming album ‘Everyday Life‘, according to their label.
Chris Martin and co. are set to release the double-disc follow-up to 2015’s ‘A Head Full Of Dreams‘ this Friday (November 22). The project has been previewed with its title track along with ‘Orphans’ and ‘Arabesque’.
Ahead of the LP’s arrival, Mark Mitchell – co-president of Coldplay’s record label Parlophone – has suggested that another full-length from the band could be in the works sooner rather than later.
“There’s nothing set in stone, but what we can say is there’s a desire to do another record to follow this up quickly,” he told Music Week.
“[‘Everyday Life’] came very, very quickly. They worked on tracks for the rest of the summer, so there’s a lot of ideas left off this record which they’re hoping to follow up as soon as possible.” Discussing whether this next studio effort could be linked to ‘Everyday Life’, Parlophone co-president Nick Burgess added: “I don’t think they are sister records. This is very much a record that the band had to get out of their system.”
di Fabrizio Basso
(@BassoFabrizio)
Il sole c'è sempre. In un emisfero sonoro si chiama Sunrise e nell'altro Sunset. La confluenza di questi due bagliori è Everyday Life e così si intitola il nuovo album dei Coldplay che arriverà nelle case di tutto il mondo il 22 novembre. Ad accompagnarlo due concerti esclusivi in diretta streaming su YouTube dalla Giordania. Il palco sarà la città di Amman e gli orari italiani sono le 5 del mattino e poi le 15. E' la loro prima volta in Giordania. Il bis sarà il 25 novembre a Londra nel Museo di Storia Naturale. La terza non si sa poiché anno annunciato lo stop ai live finchè tutto non sarà ecosostenibile.
Ma torniamo al disco, che ho ascoltato in anteprima grazie a Warner Music Italia. Si comincia con Sunrise e l'omonimo pezzo strumentale che seduce con note speziate, con effluvi sonori di sandalo e cardamomo. Come un vino si comincia dal colore e dall'olfatto. Il primo assaggio è Church, un brano da commozione il cui valore aggiunto sono le parole di Amjad Sabri, cantante pakistano di tradizione Sufi ammazzato nel 2016 dal sedicente gruppo estremista di talebani del Pakistan. Trouble in Town ha una dedica a Nelson Mandela, il papà dei diritti civili e della fratellanza, ma soprattutto i diritti del brano andranno ad ACFS, onlus per i bambini del Sud Africa, e Innocent Project, associazione che sostiene chi è accusato ingiustamente di crimini. Toccante il finale parlato. Ricorda per ritmo e violenza emotiva la Seeger Session di Bruce Springsteen: il primo verso è Lord when I'm broken...Signore quando sono rotto. Impreziosito dal coro.
Daddy inizia con percussioni tribali cui succede un pianoforte melanconico che la fa scivolare nella ballad. Porta con sé echi floydiani e un finale tropicale con una chitarra acustica, il senso del battito del cuore e poi la vera savana col canto degli uccelli. E' un cameo WOTW/POTP che decrittato sta per Wonder of the World/Power of the People: la nota predominante è la chitarra acustico. Ora arriva quello che, a mio avviso, è il gioiello dell'album. Già il titolo è un film, un crocicchio di suggestioni, un tappeto (volante) di sonorità: Arabesque. Potrei fermarmi qui. Ma come non accennare ai rumori della kasbah (sembra di sentirne tutti gli odori se socchiudete gli occhi) che avvolgono al ritmo di un marching in? Qui siamo realmente sul ponte che taglia il Bosforo. C'è la complicità di Femi Kuti, musicista nigeriano figlio dell'immenso Fela Kuti un rivoluzionario, un crociato dei diritti umani. Il finale è rumoroso, mi fa pensare a due massi continentali che si uniscono: non c'è più Oriente e Occidente, c'è un unico, bellissimo mondo. E' un canto gregoriano la canzone bonsai When I Need a Friend. Contiene un inciso di un documentario su un anziano poliomelitico in Honduras che nonostante la vita nemica con materiali di scarto e vecchie biciclette ha costruito un elicottero. Il finale è pioggia.
Ora entriamo in Sunset che si apre con Guns: siamo tutti pazzi? Il finale è un taglio netto di ghigliottina, Già ascoltato Orphans che è il primo singolo che tra gli autori ha il figlio tredicenne di Chris Martin, Moses. Pura poesia gli ultimi due versi che tradotti recitano: voglio essere con te fino alla fine del mondo voglio essere con te fino alla fine delle parole. Ekò decolla con un pianoforte che mette allegria e poi esalta i virtuosismi vocali di Martin che in più momenti sconfinano nel falsetto. Ma d'altra parte siamo in un disco che non ha confini dunque omnia licet, come (non) direbbe qualcuna. E a proposito di spiazzamenti Cry Cry Cry ha un attacco quasi jazz per poi liberare la porzione vocalist Chris. Forse, o almeno per me, ecco il brano più struggente, più Love Story dell'intero album: Old Friends è una costante vibrazione interiore che effetti eco amplificano divinamente.
Il titolo è in arabo e tra parentesi si legge Bani Adam, che è un celebre poema iraniano. Il primo verso è stato letto dal presidente Barack Obama per il capodanno persiano del 2009. Il poema, trascritto su un tappeto, è stato donato dal popolo iraniano alle Nazioni Unite e adorna una sala riunioni in sede. La parte in arabo è letto dalla dottoressa Shahrzed Sami. L'attacco pianistico ricorda le cifre stilistiche di Remo Anzovino, pianista immenso di Pordenone: quando i tasti si fermano ci ritroviamo in Oriente. Il finale è con un coro. Champions of the world è il solo brano pop di Everyday Life, quello che ci rimanda ai vecchi Coldplay. Contiene un commento dell'incontro di boxe tra Castillo e Corrales per il titolo mondiale dei pesi leggeri. Vinse Correlas che due anni dopo perse la vita in un incidente stradale. Il viaggio termina con il brano che titola e un infinito Halleluja. Ma il messaggio è Throw my arms out open wide...spalanca le braccia. Sì, Everyday Life è accoglienza.
Coldplay has chosen a regional New Zealand newspaper to reveal the lyrics to its latest album, Everyday Life.
The band's eighth album is being released later this week and the lyrics to 15 of its songs were revealed in a series of mysterious ads in the Otago Daily Times.
A tweet from Coldplay's official Twitter account reads: "For those of you in the Dunedin area of New Zealand, you can find the lyrics to all of the songs from Everyday Life (out Friday) in Tuesday's edition of the Otago Daily Times. There's an excellent article on Buenos Aires' nightlife next to the 'Èkó' lyrics on p17."
