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“I know, I know, I know/ We’re only human!” (Chris) Martin sings, stretching out the first half of “human” and imbuing it with ache. Good lord.)Įlsewhere, we get more big ’80s energy with “Humankind,” a mostly satisfying shout-along that underlines all those old U2 comparisons with an extra-thick neon highlighter. The song is so catchy, so sweeping, so entirely well executed that I can’t help but vibe with cornball declarations of love for Dakota Johnson like “I’m so happy that I’m alive at the same time as you.” (I do wish I hadn’t checked the lyrics sheet and discovered that “I’m like a broken record and I’m not playing right” is followed by “Drocer nekorb a ekil mi,” i.e., “I’m like a broken record” backwards. There’s maybe a trace of Tame Impala in those big, booming synths, too, and the gospel euphoria is woven in subtly enough that it doesn’t register as a choir-for-gravitas trope. It sounds like they asked Max to give them the “Blinding Lights” treatment - shiny, effervescent, and unmistakably ’80s, trading out Abel Tesfaye’s nocturnal edge for the kind of brightly inoffensive positivity only Coldplay can provide. “Higher Power,” the lead single and first proper song, suggests that Coldplay gunning for Top 40 airplay doesn’t have to be a bad thing. How’s that for covering your bases? There are some fascinating names in the credits, including Jon Hopkins, who helped Coldplay with the electronic interludes “Alien Choir” and “Infinity Sign” but couldn’t stop them from weaving the “Olé olé olé” soccer chant into the latter, and Metro Boomin, who lends the faintest scent of trap music to the extremely vanilla “Let Somebody Go.” But any bold creative decisions here - and there are a few - are overshadowed by the unapologetic cheese. Not only did Max Martin (no relation to Chris, lol) co-write and produce the whole thing, they also called in K-pop superstars BTS, Selena Gomez (just as she’s pivoting to Latin pop), and R&B duo We Are King for guest spots. The new Music Of The Spheres is the poppiest Coldplay album to date, sometimes gloriously, often shamelessly. That means it’s time for another lunge toward overt accessibility, and boy have Coldplay delivered on that front.
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#First coldplay song full
Then came 2015’s rainbow-streaked A Head Full Of Dreams (the one with Beyoncé), and then, after the lengthiest layoff of their career, 2019’s ambitious and rewarding Everyday Life. They followed 2011’s laser light show Mylo Xyloto, the one with “Paradise” and “Every Teardrop Is A Waterfall” and Rihanna, with 2014’s shadowy divorce record Ghost Stories. Ever since then, their albums have followed a pattern: Coldplay spent the 2010s alternating between overt bids for mainstream success and more self-consciously artsy prestige pieces.
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They arguably peaked with 2008’s Viva La Vida Or Death And All His Friends, which earned them rave reviews and their first Hot 100 #1 hit. Throughout the first decade of this millennium Chris Martin and friends evolved from humble British pub-rockers to the biggest band in the world. Behold Coldplay’s irrepressible thirst for mainstream pop relevance!