Album review: Coldplay - Mylo Xyloto

Fans have had to wait since 2008 for a new offering from UK alternative rock band Coldplay, and it’s finally here. A seasoned Coldplay fan, I have waited long enough and I kind of like what I hear.

Mylo Xyloto is different. In comparison to previous albums, it’s techno, electronic and far more of a concept album than any of the others and comprises of all things atmospheric. Itheads in a different direction and its crossover into the pop realm will reel in more mainstream listeners, though it’s not entirely a sell-out on their original intense style.

Mylo Xyloto: The title intro sucks you into the atmospheric dystopia of the entire album. Tender chimes and subtle acoustics build delicate momentum before the storm that is...

Hurts Like Heaven: Upbeat and uncharacteristically happy, Chris Martin has you bopping and jiving. Toe tapping guitar laced with synth is the first indication of the band’s new venture.

Paradise: Stunning. Slight allusions to orchestra and almost narrative themes, the lyrics are hopeful and sweet – totally lacking creativity but I love it nonetheless. The video being filmed here has nothing to do with my bias. I promise. This gets stuck in your head. I think this is my favourite.

Charlie Brown: Ah, now there’s that spark that Coldplay are notorious for. It’s almost reminiscent of Shiver and the sheer simplicity of the melody really does show their abilities minus techno gimmicks. The purity of the piano keys makes this song stand out as a true Coldplay track.

Us against the World: Heavily relying on soft acoustics and Martin’s voice, as he breathes “it’s us against the world” upon the delicate strings, the song strays off on a different path to the other songs. I like this one. It’s a pleasant reintroduction of Martin’s sweet voice.

M.M.I.X: This interlude is just a trip through space. I don’t know where they’re going with these snippets of space dementia. Perhaps it’s just the theme of the album – confusion. (Don’t worry, even I don’t know what ‘Mylo Xyloto’ is either.)

Every Teardrop is a Waterfall: Poppy, irritating and the jocks will love it. Not your typical Coldplay. I can’t say much more than this – don’t try this at home if you wish to make good rock music. I really dislike it, even though this is the first single off the album and was meant to set the tone. It is clearly not indicative of the album as a whole.

Major Minus: A collision of edgy acoustics and raw electric riffs, this is a keeper. Despite repetitive lyrics, the guitar solo makes it worthwhile. This is guitarist Jonny Buckland at his best. He doesn’t do too much, but it’s just enough for what the song requires.

U.F.O: A stripped-down acoustic track. I. Love. So. Much. Coldplay to the core. Simple guitar work and Martin as his most vulnerable beautiful self. This song is one for easy listening.

Princess of China: Questionable. Rihanna. WTH? The potential to mass appeal does nothing for the album and for Coldplay’s reputation. This is Coldplay. Not David Guetta. If it weren’t Coldplay along with the pop star, I may have liked it if dancing in a club.

Up in Flames: Ah, stunning. The first time you hear Martin’s voice go hand in hand with a piano alone. Though by comparison to classic piano tracks from this band, it fails to captivate in the same fashion, and leaves you wanting.

A Hopeful Transmission: 33 seconds of orchestral beats. Simple, setting the tone for the final two tracks.

Don’t Let it Break Your Heart: Hark! An anthem! It has you running alongside the melody and distils a fraction of classic Coldplay, but not quite. It’s as if they’re trying too hard to pull the album back to the days of X&Y.

Up With the Birds: It has you hanging alongside Martin’s voice off the piano keys. Lacklustre but still somewhat old Coldplay, and again, an attempt at trying to sound like themselves.

Conclusion: The sounds are far more space-like and there is less focus on individual instruments; rather what comes out of putting them together. Chris Martin’s voice is far less controlled than previous albums and piano has almost disappeared.

Mylo Xyloto is far more Viva La Vida than Parachutes and Coldplay seems to be going in the Muse/Radiohead direction of electronica, but not nearly as gravity-defying. Rather, it’s like having Coldplay lending themselves to being played in clubs with a bit of a remix.

I do like some of it and wouldn’t knock it entirely, because technically it’s beautiful and has a few gems.

Despite the reach for new heights, it fails in comparison to A Rush of Blood to the Head. It features a few moments of classic Coldplay, however focuses too heavily on appealing to the masses rather than real fans.

Rating: 6/10