mail: daniel_fjall@hotmail.com
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parachutes x&y
Parachutes The debut album of British Coldplay is surprisingly even and consistent. Because of a melancholic atmosphere and tender melodies delivered by Chris Martin’s emotional voice, comparisons to The Bends-era Radiohead and softer Oasis material appeared frequently in the press. It’s understandable to some degree, but Coldplay has a softer and more humble approach and attitude which makes them appear like a darker and maybe more emotional Travis. I can imagine that an updated, modern version of Neil Young’s On The Beach probably would sound something similar to Parachutes. The album is very atmospheric, but unlike many other acts Coldplay have good melodies to work with. The atmospheric arrangements works with the melodies and reinforces them, rather than just being a moody, showy vehicle. The most convincing moments appears when the band focus on ballads (“Trouble”, “Spies”) instead of the alternative pop (“Don’t Panic”, “Shiver”), which crosses U2 and Radiohead. It is during those quieter moments Martin’s fragile falsetto reaches it’s full potential and truly is affecting. That said, it does not mean the slightly faster and heavier songs are weak. Everything is very good and an interesting band to follow. For the ones whom lost interest in Radiohead after OK Computer, or even The Bends, will probably find new darlings in Coldplay.
X&Y Since the debut, things have happened. The band released A Rush of Blood To The Head, which sounded exactly like its predecessor, but not quite as good (which is why I don’t find the strength to review it), singer Chris Martin gained heavy exposure in the tabloids by marrying actress Gwyneth Paltrow and started doing all sorts of benefit and charity work making him look like Bono’s cousin or something. And since all publicity is good publicity, Coldplay’s reputation grew stronger and in some odd way the band became Britain’s new favorite pet darlings. Partly because they actually are good, and partly because other bands either had become artistically difficult and alienated their fans (Radiohead), or simply failed to do anything worthwhile with their follow-ups (Travis). In between the fake, record-company manufactured artists and the MTV hip-hop stars, Coldplay remains making shivering, grand pop music. X&Y has a fuller sound than the previous two albums, seemingly more worked on and thought through. Matured Radiohead references are in place, mostly due to Chris Martin’s beautiful tender voice that recalls Tom Yorke and the atmospheric sound. The difference is that Radiohead experiments with loops and weird sound effects these days, whilst Coldplay still puts the melody first and that’s how it should be. The sweeping guitarlines also brings a heavy U2-influence which was present previously as well, but even more so now, as they take it a step further. If you mix Radiohead somewhere after The Bends, but before OK Computer, with U2’s The Unforgettable Fire you’re bound to end up with X&Y. An album justifying the media exposure. The big arrangements are impressive, the low-keyed moments are grabbing. It seems to be a perfect album. No cracks in the wall, no hesitating, nothing that should have been done differently or could have been done better. The melodies are gorgeous, delivered by a voice so tender, but still strong and convincing enough to cut through steel. I might be caught-up in the hype, but songs like “Fix You”, “White Shadows”, the title track and “Twisted Logic” makes it quite tempting for me to label X&Y as the album of the year.
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