Photo: Sarah Lee
Robert Smith reviews Mylo Xyloto, the latest offering from Coldplay which looks set to take the world by storm.
Bono once said during the promotion for All That You Can’t Leave Behind at the turn of the century that U2 were “reapplying for the job of the best band in the world”. To the same extent, Coldplay, the apparent heirs to the Irish rockers, seem to have been justifying a similar position with every output since X&Y in 2005. This time, with the release of the mysteriously named Mylo Xyloto, they certainly explore different musical approaches, but retain an underlying desire to go big.
According to the band, while the naming of the title is entirely frivolous – the criteria being that “it couldn’t be found in a Google search” – essentially it documents “loosely a kind of romance [between two protagonists, Mylo and Xyloto] in an oppressive environment”. Originally planned as a stripped back and acoustic record, the final result is the polar opposite; washes of colour, dance beats, synths and electronics show the band moving out of their comfort zone, though the guitar hooks, piano solo’s and heartfelt lyrics which are so synonymous with Coldplay remain.
Brian Eno, this time “more a collaborative writer than a producer”, stamps his mark of so called “Enoxification” on the record from the outset with the opening title track, one of three instrumentals on the album, which according to lead singer Chris Martin involves all four members of the band trying to “play their instruments as fast as they can” in order to “shake off any nerves” at the start of live shows. However, as it blends into ‘Hurts Like Heaven’ it’s hard to comprehend how even the famously self-depreciating Martin could possibly be apprehensive. The upbeat nature of the track suggests the band have a newfound spring in their step as jumpy guitars, energetic beats and talk of “spray can soul” liken it to the post-punk of Echo & the Bunnymen and The Cure.
On reflection, it’s now difficult to believe how the second single, ‘Paradise’, was so divisive among fans upon it’s release. With it’s epic strings, R&B influences, piano jigs and ultra-singable lyrics, it now seems to fit comfortably within the repertoire. However, despite its’ obviously lofty pop ambitions, the next track, ‘Charlie Brown’ is more likely to provide Xyloto’s ‘Viva La Vida moment’. Buckland’s guitar hook throughout is instantly recognizable to the extent that you begin to seriously question whether you’ve heard it before. It’s certainly hard to comprehend how it was once the focal point of the early acoustic LP initially planned by the band in their North London studios ‘The Bakery’ and ‘The Beehive’, and that it originally “featured an organ”. Thankfully, the version we are presented with today is less of a church hymn, and more of a hallucinogenic licence for stadium crowds to spring into action. “Took a car down town and took what they offered me, to set me free, I’ll be glowing in the dark” exclaims Martin rather uncharacteristically considering this is the rock band who are known for having a self-imposed policy which strictly prohibits the use of hard drugs. That being said, the recently released music video for ‘Paradise’ may suggest the rule is less stringent now that it once was…
‘Us Against The World’ brings Coldplay back to their musical roots, and thus would not feel out of place on their debut album Parachutes. Nevertheless, as the band have pointed out in numerous interviews, it’s appropriate in describing the band’s current mindset. “We felt so many people had already made their minds up about us, both good and bad” admits drummer Will Champion “[so we decided to] sort of start again from scratch and try to reflect all the music we listen to and love’”. The cringe-worthily named lead single ‘Every Teardrop Is a Waterfall’ confirms this by showing that they have no issue with breaking away from the mould in which people might like to fit them in. The now familiar synth-led song, with its’ youthful lyrics and high pitched guitar riff remind us of how long Xyloto has been in the pipeline. However, unlike with the taster EP released in June earlier this year, the song is greatly enhanced by the preceding simplistic instrumental ‘MMIX’.
‘Major Minus’ shows Coldplay at their edgiest, darkest best, and is perhaps more representative of their rockier live experience. Muffled vocals become entirely justifiable when considering the ‘Big Brother’ context of the song as “They’ve got one eye watching you, so be careful what you do” makes Chris Martin’s description of Mylo Xyloto as a “schizophrenic” album clearer. It also provides an insight into where Coldplay could take their sound post-MX era. Contrastingly, ‘UFO’ is a song which, despite its cosmic name, has its feet firmly on the ground. Just like ‘Us Against The World’, it’s the sound of Coldplay when they were more often described as “just a bunch of geography teachers” than the dinner friends of Beyonce and Jay-Z. That’s not to say it’s any less worthwhile; it proves that they can still relate to their roots despite coming an extremely long way over a relatively short period of time.
The much deliberated ‘Princess of China’ fits more comfortably into the track-listing than one might think it would; but fundamentally the vocal input of Rihanna’s still seems slightly false. Indeed, it might be the one moment on the album where Coldplay take one step too far out of their natural comfort zone. Unfortunately, despite it being believable that the band are fans of the Barbadian diva, it inevitably comes across as a marketing stunt. For one of the most “Marmite” of bands, this offering will only continue to divide opinion. But expect it to become a guilty pleasure, do well in the charts and introduce Coldplay to a new audience. Still, Chris Martin’s “Hugh Grant moment” when approaching Rihanna to sing in the song shows his inability to act like the frontman of the world’s biggest rock band. But arguably, his modest, self-effacing personality is principally what defines his knack for emotional, often troubled songwriting; a style which is displayed perfectly by the following track ‘Up in Flames’, which initially appears, with its repetitive beat and ultra-simple structure, to be a rare example of a Coldplay filler, but after a few plays grows on the listener to become the album’s unexpected gem.
‘A Hopeful Transmission’, in effect a remake of the instrumental opener, leads into ‘Don’t Let It Break Your Heart’, which more or less serves as a microcosm for the band; lyrically poetic and heartfelt, if perhaps sometimes a little shallow, but packing a distinctly melodic punch created by the layering of flourishing instrumentals. ‘Up With The Birds’ is a song of two halves; initially appearing to provide a cloudy, dreamy end to the record, before Buckland’s input of noticeably Edge-like strumming finishes the 45 minutes on a high.
It’s not often that an album fundamentally consisting of pop tunes satisfies the need to be experimental, but Mylo Xyloto seems to do just that. It manages to easily please those who demand a continuous supply of stadium-ready anthems, yet at the same time provides enough progression that it doesn’t make us feel as if we’ve heard it all before. It might not stand the test of time like their magnum opus A Rush of Blood to the Head will – in thirty years time that will still be the piece of work which will define them as a band – but Mylo Xyloto is an album immersed in the present. It’s more modern, urban and expansive offerings may indeed satisfy those who up till now have not felt a likening to the “nobody said it was easy” and “I never meant to cause you trouble” nature of Coldplay songs past, but essentially it’s still the same four-piece at heart. As Martin wails “It’s Us Against The World” it’s hard to see how the “nice guys of rock”, with a new spring in their step and armed with new ammunition, will not come to “rule the world once” again.
Robert Smith is Editor of Politiker. Follow on Twitter @RobertSmithUK
* This article first featured on Dale & Co.
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