sábado, 17 de maio de 2008
Viva La Vida!
::Vídeo de "Violet Hill":
::A revista Q divulgou um review de todas as faixas do novo disco do Coldplay. Confira logo abaixo! [retirado da comunidade Coldplay Brasil]
Life In Technicolor
Glorious instrumental. Originally a full song with lyrics, but when described by a stranger as an “obvious single”, the words were removed. Chris Martin: “It’s nice to not have a singer on the first song come in and ruin it. This is our milkman song, the most whistleable thing. We took all the lyrics off because this song was our only safety net.”
Cemeteries Of London
Folk-tinged ghost story written overnight after Brian Eno’s assistant, Markus Dravs, deemed a song of Martin’s “good” but not yet “great”. Chris: “I was mortified. But if you tell me to write a better song, I’ll do it. He said it was good but said it in a German way, If you come in wis ze song, it’s finished, complete, great, I will say it’s great. Zis is not finished, not complete and therefore I cannot say it’s great. So I was, OK, fuck you, man! And the next day I came in and played Cemeteries Of London.”
Lost!
Church organs swell over an earthy vocal where Martin is, “Waiting till the shine wears off”. Jonny Buckland: “We recorded some of it in a church up the road that’s now a studio. In a huge room with a piano and organ going at the same time.”
42
A three-part epic. Profoundly moving piano riff nods to Lennon’s Imagine before strings swell and Martin hollers, “I thought you might be a ghost!” Chris Martin: "Hitch Hiker’s Guide related? (The number 42 is revealed as 'the answer to life the universe and everything' in Douglas Adams’s sci-fi series) It is and it isn’t. 42 is my favourite number. 42 is just perfect. We’ve got two John Lennon songs, this and Violet Hill.”
Lovers In Japan/Reign Of Love
Joyous indie-pop sparkler bleeds into bell-ringing hymnal. Guy Berryman: “Couldn’t we make our minds up? No, it’s because we didn’t want to have an extra number on the CD. To keep it concise at 10 tracks.” Will Champion: “We just preferred to have less titles and more stuff. The album as a whole has got the most on it, but it’s the shortest. We wanted to make it almost impossible for you to not listen to it all in one go.”
Viva La Vida
Strident, string-led cinematic opus featuring lyrics about cavalries, missionaries and kings. Guy: “It’s a story about a king who’s lost his kingdom, and all the album’s artwork is based on the idea of revolutionaries and guerrillas. There’s this slightly anti-authoritarian viewpoint that’s crept into some of the lyrics and it’s some of the pay-off between being surrounded by governments on one side, but also we’re human beings with emotions and we’re all going to die and the stupidity of what we have to put up with every day. Hence the album title.”
Yes
Mournful strings coil around the lowest singing register of Chris Martin’s recorded life so far, played and arranged by musician Davide Rossi (discovered when Coldplay toured with Goldfrapp). Will Champion: “Dav is like a one-man orchestra, he plays an electric violin that has everything, from the top note of a violin to the bottom note of a cello, all that range on one thing.” Chris Martin: “We’ve become very good at collaboration. And passing if off as our own work.”
Chinese Sleep Chant (hidden track)
Juggernaut guitars and what sound like a choir of Angel Gabriels, along with utterly incomprehensible lyrics. Chris: “The lyrics aren’t Latin, no! I will say this, if you take away all the guitars, what you’re left with is quite ordinary. But Jonny will always make things less ordinary. Without him we’d be fucked. It’s true!”
Violet Hill
The first single and the song least like everything else: thumping Beatles-meets- ’70s glam-rock featuring Jonny Buckland on “guitar synth”. Will Champion: “We really tried to make it sound like this great big machine that was slightly knackered. Something that’s slow and grinding. I’m sure people won’t get that! A psychedelic title? Violet Hill is a road in St John’s Wood (North-west London).”
Strawberry Swing
Twinkling Afrobeat, Eastern guitars and a phenomenally chunky bassline that appears to turn into a didgeridoo. Astonishingly, this works. Will: “A lovely, joyous song. Guy and I have managed to get more groove into this record than we’ve ever managed before. A bit more swagger.”
Death And All His Friends
Melancholy piano segues into spangling guitars and a male choir exalting, “I don’t wanna follow death and all of his friends!” Vocals recorded in an art gallery in Barcelona that was once the medical room of an ancient nunnery. Will Champion: “This is us singing all together and then another us singing together. The Coldplay Choir. And it had an echo that lasted for a long, long time. When we did a lot of group singing we just roped in whoever was around. Studio engineers, whoever.”
The Escapist (hidden track)
Church organ floats into a transcendental ambient instrumental written by Brian Eno’s friend John Hopkins, who “donated” it to the album. Over the top, a plaintive Chris Martin sings of escape. Will: “I think with everything this time, the recording, the artwork, the live shows and videos, people will see there’s more to us than they imagine.”
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