Why I am not giving up on Coldplay, yet.

Two singles on and Coldplay are on the verge of marking themselves as “sell outs”, not by the general people but by their own fans. The general public had termed them that after they became famous ages ago. It’s very easy to join the hate wagon and start criticising the change in direction that the band may be adopting. I use the word “may” because sometimes things aren’t exactly what it seems.  What people have presumed from the songs that they have heard till now is that “Coldplay have gone Pop” and it’s hard to break that mould if you listen to “Every Teardrop Is A Waterfall”, the lead single. 

Coldplay have always been an “album band”, which means that one needs to listen to the entire record at a complete stretch to decipher anything. “Mylo Xyloto” was made keeping the same purpose in mind and the entire album runs around a centralised theme involving two major leads overcoming difficult times and situations.  With such a concept album in reckoning, the job of choosing a single is hard and you have two choices – Choose songs which you think are good but won’t go well with the casual listening audience or select songs which are (if not better) very radio-friendly and would expand your audiences many fold. Coldplay, unfortunately went for the latter. It seems that they want to cater to uncharted territory while risking the old/loyal fans.

Risking or playing safe has been an immense duality in Chris’s mind. Many people would think that they are in their comfort zone while churning out two popish tunes as lead singles, that couldn’t be farther from truth. They have attempted something out of their domain and succeeded at it. “Paradise” is an nice tune and a good song for casual listeners to feast upon. But the part where it all seems to go wrong is for those who are expecting Chris and the boys to make something that they could attach themselves to. Song like “Fix You”, “Yellow”, “The Scientist” etc. which is vintage Coldplay and fans instantly associate with it and absence of such classics only increases frustration and loss in certain credibility of the band.

The signs right now, for a die-hard fan is looking grim. The vibe around the built up to the album is that of doubt, fear and uncertainty. Not something new but with the news of a Rihanna collaboration the same increases many folds. Coldplay have always been mainstream and this partnership, although surprising, is not totally out of context. If the album required a female lead vocalist to act as fillers, note I say “fillers”, and if Rihanna has done that very job then there’s nothing to panic about. On the other hand, if it’s another churned pop tune for single sake it could turn lead to loss in respect and loyalty of several fans.

Many bands, in this age, have lost their relevance by dishing out the same material over and over again (read ‘Nickelback’). Coldplay could have easily gone with “Parachutes 2.0” and pleased the hard-core fans and even to expect such a thing now would be nothing short of foolishness. Bands evolve; “Viva La Vida” from “X&Y” was a part of that process. Is “Mylo Xyloto” a step towards the same? The answer to that shouldn’t be given by anyone until they have heard the record completely. Even to judge it by singles that has been out is nothing short of throwing a dart in the dark. Because if the released songs are to taken into consideration Coldplay can be headed two ways – U2’s “Achtung Baby” era where they increased their versatility (while still maintaining relevance) several notches up or they descend into “Pop” era where they hit an all-time low in creativity.

Several decisions like releasing “Charlie Brown” as the second single or avoiding over production in the studio versions of the songs is something that they should have pondered upon. This record will have a mix of everything, from Popish to tune to classic Coldplay (“Us Against The World”) and if they manage to keep the story of the album going with such diversity, it will garner respect from every critic.

Skeptic, admirer or hater, everyone is having a say on the proceedings right now with the latter dominating heavily. I, for once, have yet not given hope of a Coldplay album that would amaze me just the way “A Rush Of Blood To The Head” or “Viva La Vida” did. I am still ready to defend this band and any change in such a stand will not happen before 24^th October.  I am not giving up on Coldplay, yet.  

I'm With You by Red Hot Chili Peppers

I’m With You. (Red Hot Chili Peppers)

Is it the right time for them to call it a day? 

Album Rating: **1/2 (2.5/5)

Red Hot Chili Peppers never had it easy. From drug addiction, death of a guitarist to numerous band line-up changes, they always managed to prove the masses wrong by staging comebacks time after time. On the outside, it might seem that after a torrid time things have finally returned to normalcy in the Peppers camp but it’s far from that, musically. They have hit an all-time low in their career and this time around (thankfully) it’s not something that is bringing them closer to their physical death, just could spell doom to their band relevance.

“Stadium Arcadium”, the last official release by the Chilis (6 years back) was a worldwide hit with the album and the singles topping the charts all around the world. It had propelled them into a higher strata of commercial and critical success, and rightfully so. The major driving force for such a global expansion was their star guitarist, John Frusciante. Many songs were built around his guitar patches or melody and when you have a person of that stature leave the band, expect the record to be filled with gaping differences and incompetency a.k.a. “I’m With You” 

Frusciante’s departure was rather amicable and not based on anger and personal differences which were the reasons he left last time around.  Enter, Josh Klinghoffer.  A session musician who has toured with several artists ranging from PJ Harvey to Gnarls Barkley. It wasn’t tough for him to fit in the scheme of things as he performed additional guitars and keyboards for the band on their last tour. It was an easy and rather the only choice for them if they wanted to record another album. A decision that they should have pondered more upon.

Unlike the record, the album opens with an impressive track called “Monarchy of Roses”, a chaotic yet vibrant song with random drum fills and great guitar feedback in patches. It also features sleek disco-rock bass riffs by none other than Flea, who has recently worked with Thom Yorke in Atoms for Peace and is a constant architecture of rhythm section for majority of the songs, more so for the next one, “Factory of Faith”. This one is completely dominated by him with some muscular input from Chad although except the catchy bass, the entire song seems forgetful with minimal efforts from Kiedis or Josh.

What follows next is the most beautiful moment of this album, perhaps one of the most brilliant songs they have ever recorded, “Brendan’s Death Song”. Penned for a late friend, Brendan Muller, this song also features Anthony Kiedis excellent song writing, not something he is known for, (“Like I said, you know I'm almost dead/ you know I'm almost gone/ when drummer drums, he's gonna play my song/ you I'm almost gone”). Starting off with an acoustic and a general built up, it reaches a crescendo with an uplifting bass over a heart-aching voice of Anthony and gently fades away. Moments like these are few and in rarity on this album.

Next song, “Ethopia” showcases the major drawback of the Peppers right from their starting days, the lyrics and song writing. Rhyming “Eei-eei-oh-eei-eei-ee-aay” with “away”, it goes downhill from there with double-stop guitar solo from Klinghoffer. He and Kiedis are the major culprits for making this song completely blunt, if not unbearable. Equally unimpressive is “Annie Wants A Baby” with abysmal rhythm and sloppy work from all, the less said about the composition, the better.

The misery ceases to stop with “Look Around” whose last minute is a shameless rip-off of their own song “By The Way”. If you come to think of it, that portion of the song is relatively better than the rest so it is easy to imagine how it would sound. Relief comes in the form of “The Adventures of Rain Dance Maggie”, the lead single from the album and a wise decision none the less. This track has a funky, groovy and infectious bass line which forms the basis with fills from Josh which is highly infectious. They play off each other quite well with rather remarkable vocals and drums, a chapter taken from one of their successful jams it seems. With “Did I Let You Know”, it starts with a catchy riff from Josh (that’s a first) on a repeated loop and a saxophone breakout, which was a completely unnecessary addition as the song consequentially fails to leave any mark on the listener.  

The record reaches an appalling state with “Goodbye Hooray” and “Happiness Loves Company”, the former being nothing of a song with sudden outburst of instruments before diving into a relaxing interval and the rubbish starts all over again. This term can also be used for the latter as Anthony becomes highly irritating to the point that listening to the rest of the album seems like a brave decision. 

The only saving grace comes in the form of “Police Station”, another highlight of the record with the reminiscence of some of their previous works with sublime and echo guitars, an atmospheric work highly similar to Pink Floyd.  The ballad features crackling drums from Smith and majestic keyboard breaks from Josh (surprise, surprise!). "What happened to the funny papers/ smiling was your money maker", declares Kiedis as this song seems to be ideal cut-out as the next single.

As the album starts drawing closer after the long, wearing and tearing listen there is a little respite but with “Even You Brutus?” the rap kicks in which seems uncalled for with the rhythm section potentially making the song listenable and to some extent likeable.  Somewhat notable and intense is “Meet Me At The Corner” with Jazzy influences and inventive drumming from Chad.  Josh is at his very best on this song with some vital country references as well.  It all ends with “Dance, Dance, Dance” a song that shouldn’t have made it due to the sheer inadequacy barring a playful drum pattern and effective chorus.

Red Hot Chili Peppers have survived for a massive time and entered fourth decade with their fans, “I’m With You” will be a hard pill to swallow for the loyals who have been accustomed to hooky guitar riffs, if not the most meaningful lyrics.  Failing to thrive at this point of their carrier may prove fatal and being in a similar situation before, they will fight it out to come out of this.

Will they succeed?  Only time will tell.  But as the dawn approaches, you cannot help but wonder, Has the time come for them to hang up their boots?

 
Key Songs: Brendan's Death Song, Police Station, The Adventures Of Rain Dance Maggie. 

Track Listing:

1. Monarchy Of Roses (4:11)
2. Factory Of Faith (4:20)
3. Brendan's Death Song (5:38)
4. Ethopia (3:50)
5. Annie Wants A Baby (3:40)
6. Look Around (3:20)
7. The Adventure Of Rain Dance Maggie (4:42)
8. Did I Let You Know (4:21)
9. Goodbye Hooray (3:52)
10. Happiness Loves Company (3:33)
11. Police Station (5:35)
12. Even You Brutus (4:01)
13. Meet Me At The Corner (4:21)
14. Dance, Dance, Dance (3:45)

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