When coldplay first appeared in our pages, in 2000, Rolling Stone wondered: Were the new Brit-pop group “the next Radiohead? Or the next Verve, or Travis?” Today, it’s clear they were none of those things. Over the past 20 years, Coldplay have carved out their own place in the world: as stadium-filling, genre-defying optimists in an age of irony. They are arguably the biggest band in the world today — their tour behind 2015’s A Head Full of Dreams grossed $523 million, a run they kicked off with a set at the Super Bowl with Beyoncé and Bruno Mars. All of that success caused frontman Chris Martin to take a step back. “There was a slight sense of peace,” he says on a recent afternoon in New York. “All we have to do now is follow the muse.” Coldplay’s eighth album, Everyday Life, is unlike anything they’ve made before, a meditative double disc that embraces gospel, folk, and even Afrobeat. Martin addresses such hot-button subjects as gun control, mass incarceration, and racism (“Trouble in Town” features audio of Philadelphia police officers harassing innocent black suspects), as well as fatherhood (he has two children with ex-wife Gwyneth Paltrow). He’s proud of the album, even if he’s a little uncertain of its commercial viability. That contentment is something Martin has been working toward as long as he’s been writing. Here’s how he got there.
What was the urge in you to play music? When did that start for you?
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Bu hikaye RollingStone India dergisinin January 2020 sayısından alınmıştır.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Giriş Yap
DANCE-FLOOR BLISS AND THE SEARCH FOR (POST-) HUMAN CONNECTION
Over the course of roughly a decade, CARIBOU, the electronic-leaning project from Canadian musician and composer Dan Snaith, has released intricate, sonically inventive records that cradle rhythm and history. On \"Home,\" from 2020's Suddenly, he coos softly alongside a frenetic flip of Gloria Barnes' 1971 single of the same name. There, the subtle cracks and gestures in his voice manage to breathe life into the digitally-manipulated sample. Caribou's music has so far thrived on this quality — Snaith's seemingly boundless musical curiosity and his ability to crystalize big ideas into euphoric moments of dance-floor bliss. It's why his choice to use artificial intelligence on his vocals for his latest album, Honey, feels like a misstep. Here, Snaith's voice is transformed in character and identity, at times creating revelatory moments, like on \"Come Find Me,\" where he's reimagined as a treacly-toned young woman, though in small enough doses for it to work. Elsewhere, like on the rap-adjacent \"Campfire,\" where Snaith renders himself as the sort of rapper you might hear on a Caribou track (think Definitive Jux vibes), the concept breaks down.
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