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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“Just because I’m losing,” Chris Martin once sang, “doesn’t mean I’m lost.”
A platitude to end all platitudes, this line is a prime example of the familiar arena-rock territory Coldplay has prowled so successfully for nearly 20 years. The soliloquy framing and vague but relatable message are both present on “Lost” from 2008’s “Viva la Vida,” as is the expectation that listeners will forgive the somewhat reductive nature of Martin’s lyrics in favor his falsetto’s cathartic powers. The results? Big songs about (mostly) sad things that you can safely listen to with your mom, courtesy of one of the most successful rock bands in the world.
Despite Martin’s prior assurances, the lads of Coldplay do indeed seem lost on the band’s eighth album, “Everyday Life.” Following in the footsteps of 2014’s sullen, sparse “Ghost Stories” and the colorful yet tame approach employed on 2015’s “A Head Full of Dreams,” no one was really sure what to expect when newspaper ads appeared in October announcing the arrival of a new record.
Martin and his bandmates — bassist Guy Berryman, guitarist Jonny Buckland, and drummer Will Champion — have never concerned themselves with the backlash that comes from being unabashedly sincere. Cynicism has never suited Coldplay, so over the years they’ve instead leaned fully into their penchant for grandeur. From donning costumes inspired by the French Revolution for the “Viva la Vida” tour to the aching reassurance that things will be okay offered by past hits like “Fix You,” the band has long found success by embracing the idea that largesse can sometimes be a sufficient substitute for depth.
A similar conceit underscores “Everyday Life,” a double album that revels in experimentation, despite clocking in at just over 50 minutes. Broken into two halves — rather cloyingly titled “Sunrise” and “Sunset” — Coldplay’s latest record finds the band collaborating with choirs, incorporating audio from a police encounter, and relying on an uneven backbeat of world music in hopes it will make it all congeal.
On “BrokEn,” Martin dabbles in gospel as he and a choir joyously implore the light above to shine down on them. Beyond the inexplicable stylization of the track’s title, the song also feels a bit like empty calories. Beloved by fans for their willingness to go over-the-top, Coldplay’s moment in church is thus perplexingly subdued.
Conversely, “Arabesque” is a bold departure from the band’s usual aesthetic, a saxophone-indebted dose of swagger that brings Coldplay as close to modern jazz as they’re likely ever to get. It’s one of the record’s few highlights, along with “Orphans.” The song embraces a familiar formula for the band, with melancholy slowly giving way to euphoria — this time with help from a youth chorus. The cut is but the latest example of Coldplay’s consistent yet uncanny ability to craft irresistibly catchy tunes that are built to be belted out by massive crowds. With their penchant for penning feel-good fodder, it’s thus perplexing that Martin is so doggedly insistent on proving he can write deep thinkers too.
Case in point: “Trouble in Town,” which finds Martin lamenting racial turmoil and police brutality over a hushed piano before audio of disgraced Philadelphia police officer Philip Nace harassing a civilian kicks the track into a maelstrom of guitar from Buckley. “Everything is getting strange,” Martin observes, providing a woefully euphemistic assessment of an exceptionally dire situation. The absence of a deeper message is a recurring issue for “Everyday Life.”
Coldplay is at their best when they’re making no attempt to justify their bombast. There is no cerebral barrier between our ears and the transcendent climax of a song like “Clocks.” We’ve all known what it is to feel despair and to search for the strength to conquer it, so the song’s message is immediate and subsequently powerful. On “Everyday Life,” these wires of communication are often twisted as they’re forced through prisms of current events and social issues that, while indisputably important and worthy of inclusion, sometimes come across as obligatory or out of place.
Taken in its entirety, “Everyday Life” is guilty of the same offense, offering brief, non-offensive tastes of numerous exotic fare without adding any new ingredients to the recipes. Coldplay has never needed excessive substance to make its music work, but by trying so voraciously to prove they have some, they’ve inadvertently put their greatest shortcoming on full display.
The result is an album that fulfills the requisite Coldplay requirements — be it plumes of falsetto, odes to brooding despair or decadent displays of jubilation — but ultimately fails to justify its own necessity.
(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.
When was the last time Coldplay released a truly great album?
Those for whom the question incites finger-pointing and maniacal laughter can close their browser tabs now. As for everyone else: Surely your pick is not 2015’s color-splattered pop move A Head Full Of Dreams, which stands as this band’s creative nadir. At the time I personally stumped for 2014’s dark, dreary divorce album Ghost Stories, though in hindsight much of my admiration hung on “Magic,” one the most impeccable singles in their catalog. There are those who’ll go to the mat for the 2011 rock opera Mylo Xyloto, which is a reasonable take, but that one doesn’t blow me away like 2008’s also-grandiose costumed Viva La Vida Or Death And All His Friends. Or maybe you’re the type of person who believes Chris Martin’s crew have never been as good as on that initial three-album run when they grabbed the baton from U2 that Radiohead had refused and became the biggest band in the world.
No matter where you stand on Coldplay, if you’ve ever liked them at all, Everyday Life has something for you. Although its 53-minute runtime does not necessitate two discs, in spirit it justifies the double-album conceit. Like the White Album or even Mellon Collie And The Infinite Sadness (whose disc titles “Dawn To Dusk” and “Twilight To Starlight” preceded Coldplay’s use of “Sunrise” and “Sunset”), this set finds its creators hopping from style to style, sometimes experimenting, sometimes returning to their wheelhouse. More often than not, it works.
Coldplay have spent the second half of this decade pointedly capping off their first era. Last year they released a career-spanning documentary, which probably would have been accompanied by a greatest hits album if artists besides Spoon still released such comps. And Martin famously compared A Head Full Of Dreams, his band’s seventh LP, to Harry Potter And The Deathly Hallows, the seventh and final book in J.K. Rowling’s series. Although both are massively popular franchises centered on dorky English boys with supernatural abilities, Coldplay’s offensively bright and gravitas-free LP7 bears little aesthetic similarity to Harry Potter’s grim finale. And anyhow, that makes Everyday Life, what, Fantastic Beasts And Where To Find Them?
Maybe the comparison is actually not so awful. After all, Fantastic Beasts is a prequel, and Everyday Life often finds the guys who made “The Scientist” going back, not just back to the start, but to somewhere well before they began. A large chunk of the album explores musical traditions that predate Coldplay, but always with the keen awareness that they’re writing these traditions into Coldplay’s story. Sometimes this means minimalist takes on foundational American genres: the gospel praise song “BrokEn,” the folksy acoustic protest “Guns,” the soul lullaby “Cry Cry Cry.” Other times it means delving into truly ancient stylings: the achingly beautiful symphonic instrumental “Sunrise,” the baroque piano excurcion “Bani Adam,” the cathedral-ready choral arrangement “When I Need A Friend.” This sounds like the kind of exercise that could send you to the emergency room from slapping your own forehead too much, and yet the gambit is successful. The songs are good.
So are the more modern tracks. Many sound like classic Coldplay, whatever that means to you, be it arena-ready anthems (the gracefully gliding “Church” and the triumphantly floating “Champion Of The World”), sparse folk-rockers that hearken back to their earliest material (“Eko,” “Old Friends,” “Wonder Of The World / Power Of The People”), or ballads that get away with laying it on a little thick (“Everyday Life” and “Daddy,” one of the prettiest songs they’ve ever released). Lead single “Orphans,” with its liquid bass and yearning children’s choir and shameless Bono hero worship, originally struck me as a continuation of their insipid A Head Full Of Dreams sound, but examining it from different angles has revealed its sparkle. And when they get loud, as on the gloomy “Trouble In Town” and the heavily grooving funk-jazz parade “Arabesque,” it hits as hard as they intend.
To assemble this sonic scrapbook, they’ve pulled from a wide range of sources, many of them via sampling, interpolation, or some other vaguely defined inspiration meriting a writing credit: late Frightened Rabbit frontman Scott Hutchison, Persian poet Saadi, jazz legend Alice Coltrane, second-generation Afrobeat star Femi Kuti, the Durutti Column’s John Metcalfe, “Piece Of My Heart” songwriters Bertrand Berns and Jerry Ragovoy, Belgian rapper Stromae, Scandinavian pop production maestros Max Martin and Stargate, Pakistani qawwali singer Amjad Farid Sabri, Italian violinist Davide Rossi. In the lead-up to Everyday Life, Martin supposedly spent a lot of time traveling the world, meeting people and gathering experiences in disparate cultures. According to drummer Will Champion, Coldplay recorded in brief, intensive stints in locales ranging from a wintry Italian hilltop, the California beachfront, the English countryside, and their old studio in North London. The globetrotting ethos has continued into the album rollout, with a pair of livestreamed release shows from Jordan beginning tonight.
If all this maneuvering hadn’t already made Coldplay’s intentions plain, they spell out their call to empathy in the title track’s chorus: “Cause everyone hurts/ Everyone cries/ Everyone tells each other all kinds of lies/ Everyone falls/ Everybody dreams and doubts/ Got to keep dancing when the lights go out.” It’s the sort of come-together messaging you’d expect from a band like Coldplay, bleeding-heart optimists who deal in grand gestures and have been more successful than most at bringing together wide swaths of people. It’s also one of the weakest songs on the album, partially because it insists on tying a bow on the messy realities Coldplay have explored leading up to it.
None of the positions Coldplay stake out while cataloguing the world’s ills will surprise anyone, but they at least tend to be more nuanced than “Why can’t we all just get along?” Audio of disgraced Philly cop Philip Nace terrorizing minorities during a traffic stop kicks in just before the thunderous climax of “Trouble In Town,” while “Guns” finds one of history’s most earnest rock stars successfully pulling off sarcasm via the refrain, “The judgement of this court is: We need more guns.” On “Orphans,” Martin frames the plight of displaced Syrian refugees in terms anyone could understand: “I wanna know when I can go back and get drunk with my friends.” And when he ends “Arabesque” by repeatedly snarling “Same fucking blood!” it becomes easier to buy into the song’s assertion that “music is the weapon of the future,” if only until the end of the track.
Elsewhere Martin trades the global focus for the personal. On “Church,” a giddy love song presumably addressed to new flame Dakota Johnson, he sings, “What can I tell you/ When I’m with you I’m walking on air,” and he sounds like it. Other times he leaves you guessing about whether the character sketches are autobiographical. In particular, it’s possible to hear “Daddy” as his regretful reflection on spending so much of his kids’ childhoods on the road, a thought that lends crushing weight to its gently arching chorus: “You’re so far away.”
Everyday Life overflows with gorgeous moments like that. If this is the beginning of a new era for this band, they’re getting off on the right foot, with songs that showcase them at their best. It’s not going to change the world, and it may not even change anyone’s mind about Coldplay, but it resoundingly succeeds in updating the answer to that question up top. When was the last time Coldplay released a truly great album? Right now.
Everyday Life is out 11/22 on Parlophone/Atlantic. Pre-order it here.
“Our whole philosophy on this record is like, f*** it, just do it and not be afraid of anything,” grins Chris Martin mischievously.
The record is Everyday Life, Coldplay’s eighth studio album, which Martin says is personal and unfiltered; gathered from voice memos and private recordings with the ambition to let things through that would normally be set aside. It’s this lack of fear and that knowing smile that allows doo-wop from Back to the Future and Rammstein by way of Bob Dylan to figure into the equation.
RADIO.COM’s Kevan Kenney joins Martin as he shares never-before-heard stories behind the making of their new LP and plays songs from the band’s first album in nearly four years. It’s all part of a one hour RADIO.COM Conversation with Coldplay special you can hear on all RADIO.COM Alternative stations this weekend. Times vary by station.
In the meantime you can get a preview in the exclusive video above, as Chris details some of the influences that crept into this adventurous new double album, from Frank Ocean to the “Enchantment Under The Sea” dance, all in the span of one song.
“It is doo-wop, yeah,” Martin says emphatically about the song “Cry Cry Cry.”
“I would say it started with the song ‘Earth Angel’ which I heard in ‘Back to the Future’ in 1985,” he says of the song’s earliest inspiration. “We love that kind of music. And then this song also came from listening to an old song called ‘Cry Baby’ from the 60s, sung by a singer called Garrett Mimms. I heard that song and then a bit of it stayed with me and then another song came around it.”
This one song with roots over 55 years deep, also found room for Frank Ocean in this anything goes approach to Coldplay. “That song ‘Nikes’ is probably an inspiration on that song,” Martin tells Kenney, speaking to the pitch of the singer’s voice. On the song, Martin backs himself at a different pitch, and it’s taken on its own persona. “That’s a new singing character that we call something, but yeah, it is originally me.”
“I just feel like, just mess around with things these days, and sound a bit different and that’s okay.”
It is how some songs like “Heaven” seemed to drop from the sky for Martin and company, and others like “Guns,” which typically would be left in the studio, made it to Everyday Life.
“The way that the band works 80 percent of the time is that for whatever reason, I get sent an idea for a song, like a skeleton idea. Then I take it to Johnny, Guy, and Will and if they like it then it passes that test and they will work on it and put their parts on, which makes it properly written,” Martin details. “There’s quite a few songs on this album which I thought would never be accepted by the rest of the band.”
The group’s willingness to be raw and open widened the gate for songs like “Guns,” songs that even Chris was nervous and unsure of. “Most of our songs that I really like just fell through in about five minutes, and it’s all the other ones that I work on for hours and hours that they never make it,” he laughs.
“Guns” also has the important distinction of being the only song in the Coldplay catalog influenced by both Rammstein and Bob Dylan. Martin is “obsessed” with the German heavy metal band and also the iconic style of Dylan, but how do those two fit together? “I was thinking, I wonder what would happen if Bob Dylan was playing one of their songs,” Chris chuckles. “And then the riff for ‘Guns’ came out.”
From city noises to heartbeats, there’s plenty woven into the fabric of Everyday Life. You can hear more about the making of this album in the video above, and this weekend during the RADIO.COM Conversation with Coldplay special on your favorite RADIO.COM station.
Everyday Life is now available everywhere.
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It's Friday! Happy Coldplay Day!!
The British four-piece return with Everyday Life, their eighth studio album which arrived on digital music services at midnight.
A double-set spanning 53 minutes and 16 tracks, Everyday Life is divided into two halves, Sunrise and Sunset. Chris Martin and Co. are testing both sides with a pair of performances on Friday in Amman, Jordan.
Everyday Life is the followup to 2015’s A Head Full of Dreams, which hit No. 1 in the U.K. and No. 2 in the U.S.
The new album features the previously released tracks "Orphans," "Arabesque," :"Daddy" and "Champion Of The World" and can be streamed in full below.
