The Guardian
0
(Parlophone)
The band’s new double album mixes more of their melodically watertight stadium pop with dabblings in the genres they are least suited to dabble in
The internal psychology of rock bands is a tricky thing for outsiders to fathom but, 21 years on from their debut single, it’s pretty clear Coldplay are driven by two often conflicting impulses. The first is to be the biggest band in the world, a desire that was evident from the start in their amenable, uncontroversial songs dealing in generalities and emotions expressed so vaguely that anyone could relate to them. This instinct made them impressively adaptable, and when guitar rock’s currency crashed, they slipped easily into co-writes with Avicii and pop super-producers Stargate, and arranged guest appearances from Rihanna and the Chainsmokers.
The other is an impulse to experiment. One suspects it’s not something to which Coldplay are naturally suited – invited to compile a streaming service playlist of influences, they opted for pub jukebox crowd-pleasers by Bob Marley, Oasis and REM – but they keep giving it a go, tapping up electronic auteurs Brian Eno and Jon Hopkins for ideas, and releasing concept albums and pseudonymous dabblings in African music.
Related: No more mellow Yellow: why Coldplay are pop's weirdest band
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Thu Nov 21 13:32:52 GMT 2019