16 Songs, 52 Minutes

EDITORS’ NOTES

If the kaleidoscopic joy of 2015’s A Head Full of Dreams feels like a distant memory now, that’s natural—it was a different time. In the four years since we last heard from Coldplay, the world has grown more chaotic. “Not that there hasn’t always been craziness,” frontman Chris Martin tells Apple Music, “but it’s so in-your-face all the time. It can only make you feel like—it doesn’t matter the consequence, you have to sing what’s coming through.” In response comes Everyday Life, a double album that finds arguably this century’s biggest and most agreeable rock band attempting to inspire unity, at considerable cost and risk. “It’s very true to us,” Martin says. “That’s all I know.”

They’ve organized the album conceptually. The first half, Sunrise, opens with strings both somber and hopeful. “It’s the challenges we see happening in our lives and in lots of other people’s lives,” Martin explains. The second, Sunset, is “a bit more, ‘How might you meet those challenges? How can one go on?’” That side kicks off with “Guns,” an acoustic number in which Martin references Dylan and skewers American gun violence, deadpanning, “Melt down all the trumpets, all the trombones and the drums/Who needs education or a thousand splendid suns?” It’s the most urgent and overtly political they’ve sounded since 2002’s “Politik,” which was recorded in the immediate aftermath of 9/11. Unlike their most recent output, Everyday Life is similarly raw, interspersed with snippets of ambient sound that lend the album familiar texture: street noise, birdsong, a tense exchange between motorist and police officer. When Martin takes to his piano and sings alongside a gospel chorus in “BrokEn,” you feel like you’re sitting in church a few feet away from them.

While much of the record errs on the side of understatement, there are anthems and grand gestures as well. On “Arabesque,” the entire band joins forces with Femi Kuti’s Positive Force for a feverish Afrobeat groove that, in addition to a verse in French, features the central refrain: “We share the same blood.” That message rings throughout Everyday Life, from the open-armed, choir-led embrace of “Orphans”—where Guy Berryman’s bassline sets a new gold standard for buoyancy—to the spoken-word immediacy of “بنی آدم” to the twilight skywriting of closing duo “Champion of the World” and the title track. “Everyone hurts, everyone cries, everyone tells each other all kinds of lies,” Martin sings on the latter. “Everyone falls, everybody dreams and doubts/Got to keep dancing when the lights go out.”

Parental Advisory: Explicit Lyrics. Apple Digital Master

EDITORS’ NOTES

If the kaleidoscopic joy of 2015’s A Head Full of Dreams feels like a distant memory now, that’s natural—it was a different time. In the four years since we last heard from Coldplay, the world has grown more chaotic. “Not that there hasn’t always been craziness,” frontman Chris Martin tells Apple Music, “but it’s so in-your-face all the time. It can only make you feel like—it doesn’t matter the consequence, you have to sing what’s coming through.” In response comes Everyday Life, a double album that finds arguably this century’s biggest and most agreeable rock band attempting to inspire unity, at considerable cost and risk. “It’s very true to us,” Martin says. “That’s all I know.”

They’ve organized the album conceptually. The first half, Sunrise, opens with strings both somber and hopeful. “It’s the challenges we see happening in our lives and in lots of other people’s lives,” Martin explains. The second, Sunset, is “a bit more, ‘How might you meet those challenges? How can one go on?’” That side kicks off with “Guns,” an acoustic number in which Martin references Dylan and skewers American gun violence, deadpanning, “Melt down all the trumpets, all the trombones and the drums/Who needs education or a thousand splendid suns?” It’s the most urgent and overtly political they’ve sounded since 2002’s “Politik,” which was recorded in the immediate aftermath of 9/11. Unlike their most recent output, Everyday Life is similarly raw, interspersed with snippets of ambient sound that lend the album familiar texture: street noise, birdsong, a tense exchange between motorist and police officer. When Martin takes to his piano and sings alongside a gospel chorus in “BrokEn,” you feel like you’re sitting in church a few feet away from them.

While much of the record errs on the side of understatement, there are anthems and grand gestures as well. On “Arabesque,” the entire band joins forces with Femi Kuti’s Positive Force for a feverish Afrobeat groove that, in addition to a verse in French, features the central refrain: “We share the same blood.” That message rings throughout Everyday Life, from the open-armed, choir-led embrace of “Orphans”—where Guy Berryman’s bassline sets a new gold standard for buoyancy—to the spoken-word immediacy of “بنی آدم” to the twilight skywriting of closing duo “Champion of the World” and the title track. “Everyone hurts, everyone cries, everyone tells each other all kinds of lies,” Martin sings on the latter. “Everyone falls, everybody dreams and doubts/Got to keep dancing when the lights go out.”

Parental Advisory: Explicit Lyrics. Mastered for iTunes
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Ratings and Reviews

3.7 out of 5
502 Ratings

502 Ratings

Klippel Family ,

First Explicit Coldplay Album

Though I love the Arabic style coming out and it blending so well with the band, I am disappointed that Coldplay has released their first studio album with explicit lyrics. Society already has a lot of that, it’s not original and shows a lack of creativity. It comes out of anger, and Coldplay isn’t an angry band.

I agree with the comments that the song also lacks meaning behind some of the superficial lyrics in “Orphans”, but maybe that also means that there is something to be assumed in that song.

Society craves music that moves us, not just stimulates us. Coldplay in the past has done that for us many a time with countless songs we could go on about.

I have high hopes for the rest of this album, and I think it has so much potential.

Shoutout to the die hard fans for not throwing in the towel over a band’s desire to change. Even if the music quality ends up being less than expected, people shouldn’t desecrate the band they’ve loved for years.

btros47 ,

A once great band reduced to this?

Coldplay used to be an awesome, incredible band. Their 1st 4 albums were absolutely incredible. And then they felt the need to go pop. Mylo has some good efforts on it but you could tell they were changing. And not for the better. They’ve turned into this bland pop machine which is so incredibly disappointing. They used to fill a huge void in music. Now they just blend into the same old crap that passes for music these days. With each album I keep hoping to hear what made them great. And then I hear singles like this and know I’ll never listen to them again. So so sad.

GEB81 ,

Coldplay Haters???

I am surprise at the number of poor reviews on here. I absolutely love the diversity of sound from these first 3 songs. One is a completely new sound and great direction, one is similar to the pop/dance anthems of their recent sound and the last harkens back to their early days. As for the explicit lyric. It fits the song and isn’t used to simply curse. Chris is an adult and, like it or not, adults often express themselves with bad language. If it offends you, they were kind enough to release a censored version. If that is still too much, there are kids and gospel songs on iTunes if you wish to avoid colorful language. I, for one, can’t wait for the rest of the album!

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