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The opening title song fades in with distantly chiming bells, a synthetic dance pulse, a drum set shuffling complicatedly, and a guitar repeatedly drawing a high, short melody. Which might be the truest form of boring. You can admire many of the creative choices, but you quickly forget what you just listened to. It’s not physiologically exciting anymore.
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On A Head Full of Dreams you can hear the band trying out some other formula, or focusing on certain parts of the old recipe to the exclusion of others. Even Coldplay seems to be a little bored, seven albums into their career. So the band creates excitement via a formula, and formulas are, by another definition of the term, boring. They open the chord and resolve the fleeting dissonance, and it’s all done deftly enough that the hook comes into focus just as it’s ending.” They pose a question, and they give a satisfying answer. As for the melodies, I liked what my colleague Derek Thompson wrote in 2011 about “Every Teardrop Is a Waterfall”: “They draw clear lines. They strap you in and then scoot you along uplift is both an emotional idea Martin’s lyrics obsess over and a metaphorical concept to describe what the choruses do.
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It basically works this way in all successful Coldplay songs. The album is about being high all the time, which might explain why it has almost no distinguishable heights. To extend the amusement-ride comparison, think Disneyland attractions: enough action to raise everyone’s pulse a bit, but not enough to truly frighten the kids or grandparents. The highs feel very high, but there’s never any sense of careening away, never a possibility of disorientation.
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You’re pitched up for the chorus and pitched back down for the verse sonic density also peaks-hear those strings in the glorious “nothing else compares” part?-and then dissipates. And then the rollercoaster takes you places. Go back to “Clocks.” Its steady beat, insistent piano riff, and pleasingly repetitious vocal line jacket the listener snuggly, securing them within the song as surely as the lap bar does on a roller coaster. For people who favor noisier rock or electronica or rap or any sort of music in which challenging the listener matters, this is boring.īut as pure songcraft, Coldplay’s most popular material can be, and probably is, taught in musicology courses about inducing excitement through sound. The band’s added more diverse sounds over the years-laser-show synthesizers, pompous classical touches-but its essential nature precludes the possibility of edge or aggression. Chris Martin has the kind of voice that reminds one of visiting CVS for Sudafed, and it’s usually delivering inspirational slogans so clumsy that even Upworthy wouldn’t bother with them. Coldplay began their career playing rock that sounds like Oasis, which is to say it sounds like a zillion guitar bands before and since.
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What it really is, though, is a seminar in t he many-splendored ways that music can be boring.Ī common reaction here would be to say “it’s Coldplay, of course it’s boring.” The truth is that the best Coldplay is quite the opposite, and it’s worth thinking a bit about the different ways of defining musical boredom. A Head Full of Dreams presents itself as shiny and hyperactive, adventuresome and openhearted, radically optimistic. Five Lessons in Creativity From Metallica James Parkerįun talking points.