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.
I’ve loved Coldplay for a long time. On Desert Island Discs, “Yellow” would be one of mine. But nearly 20 years since Parachutes, we all have more on our mind. Coldplay's new release, Everyday Life, their eighth, is a mature double album with 16 songs that feels confident for the band, generous to fans and provoking enough for sceptics who still dismiss them as vanilla.
It sounds familiar and foreign at once; Middle Eastern influences sit with synthesised beats and there’s a glorious cacophony of old and new. When “Trouble In Town” begins, it immediately marks the album as Coldplay’s most political, putting their mouth where their money is: singing about police brutality, including a soundbite of the Philadelphia cop who was rightly dismissed for “idiotic behaviour”, and storming into their finest compositions for years. Violins soar, piano chords rumble, percussions explode.
Everyday Life is Coldplay’s ultimate belligerence, warning about Islamophobia and the War On Terror as well as homegrown injustices everywhere. “Orphans” is catchy, but the toe-tapping “boom boom ka” mimics the sound of bombs hitting Damascus in April 2018 – “Rosaleen Of The Damascene” refers to a girl who was killed. What first seems like easy listening is deceptive – Coldplay’s lyrics have never been more urgent.
Coldplay have won: it sounds like they’ve stopped making music for anyone else
This album is a culmination of the band’s previous achievements – the militant guitar riffs from Viva La Vida, the aching pianos of A Rush Of Blood To The Head, the earthy rock chords from Parachutes – but they’re also now far beyond what’s neat and digestible. The cheery “BrokEn” almost feels brassy, such simple respite after immensely ambitious storytelling – a boom-clap rhythm plays ping-pong with an upbeat piano, while Martin plainly sings about “shining a light” and a choir snaps their fingers. Are Coldplay toying with us by juggling so many emotions at lightning speed? Maybe they just want to keep their teeth sharp.
Dissonance defines the album. “Daddy” is soulfully sad, “Arabesque” is seductive and bolshie. It’s wickedly entertaining listening for fans – as I gear up for mournfulness reminiscent of Ghost Stories, the album slides into Sunset – and that emotion is gone. “Guns”, with its scathing satire about America’s liberal policy on firearms, doesn’t care about my feelings.
After universal strife comes intimacy in the form of “Old Friends”. So many of Coldplay’s songs can be loosely attached to a particular person, but with the soft chorus, “When I close my eyes / I see you / Time just deepens, sweetens, and mends old friends” against a longing acoustic guitar, this one is their most laser focused. It’s not “Fix You” or “The Scientist” – this sounds less crowd pleasing and more confessional. Then you're struck by "Champion Of The World”, which becomes the best track. Guitars twang freely – and between harmonies, Martin gleefully gives in to sighs and screams. It’s completely fearless.
Everyday Life makes room for violence and romance, for memories of the band’s first anthems and a future with braver singalongs. Coldplay have won: it sounds like they’ve stopped making music for anyone else. For its guts, Everyday Life is a gift – hard to deem it anything less than Coldplay’s best.
Everyday Life is out now.
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Coldplay is looking to see how to make their concerts environmentally friendly, leading to the band’s decision to put their tour on hold. Frontman Chris Martin revealed that the band would be taking some time off over the next year or two to figure out how their concerts can be “actively beneficial.”
Just ahead of the release of their latest album “Everyday Life,” the band will be putting on a couple of performances before their hiatus in order to figure out how to save the environment through their tours. Speaking with BBC on the issue, Martin said, “How can we harness the resources that our tour creates and make it have a positive impact?" Chris added that he hopes to perform on a show that enforces no single-use plastic and be powered by solar energy.
To commemorate the release of their double album “Everyday Life,” Coldplay will be performing two shows in Amman, Jordan this Friday in time for the release of their new album. For those not able to attend, the concert will be live-streamed on YouTube.
The following week, the band will be heading to London to play at the Natural History Museum. The group’s website states that all their ticket sales for their London show will go towards the charity organization called ClientEarth, which focuses on using the law to protect the environment.
Coldplay’s last tour was in 2016 for their album “A Head Full of Dreams,” which marked the bands return to bigger venues after using more intimate settings for their “Ghost Stories” tour. It’ll be the first time that the band wouldn’t be touring for an album in their career. They have been quite active supporting different causes socially and politically.
The band announced their latest album at Global Citizen this year and sent out a letter to fans in October about their eighth studio album. The new record was revealed to be a double album, with the first half called Sunrise while the other is Sunset. Their latest single, “Daddy,” hit the airwaves earlier this week on Nov. 20.
The album “Everyday Life” releases on Friday.
Photo: REUTERS/Lucy Nicholson
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
