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Post by comicforce on May 19, 2014 6:56:58 GMT
I have added a sub-header in the Ghost Stories section for all reviews you might want to post for Ghost Stories. This would include individual songs, plus the whole album.
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Post by nancyk58 on May 20, 2014 5:56:52 GMT
Thank you for creating this thread for me. I translated this nice review on 19.5.14, so here it is:Berlingske Tidende (Danish newspaper) review of Coldplay’s album Ghost Stories translated to English www.b.dk/kultur/udsat-paa-hjertets-bjerge Exposed on the mountains of the heartBy Jeppe Krogsgaard Christensen on 16 May 2014, 22:30 / translated by Nancy Boysen on 19 May 10:00 With »Ghost Stories« Coldplay has made their so far best album where the big chorusses have been taken out of the songs that are instead loaded (filled) with bittersweetness.The other day I heard a new U2 song, and the first thing that struck me was not how much the U2 song sounded like U2, but how much it sounded like Coldplay. The idea does not come out of nowhere. For once Coldplay were simply U2 protégés, but have since then made their signatures to their own: The pathos-laden sound, the fervent voice, the flashing guitars. When exactly the change took place is hard to say. But somewhere between 2002 and 2005, between the million selling albums 'A Rush Of Blood To The Head' and 'X & Y', and in the years when speaking of "the world's greatest rock band 'was becoming outdated in the name of file sharing and diversity. But Coldplay were – and are – giants in both charts/hitlists as well as sales lists, and their success in the new millennium also matches the success enjoyed by U2 in the 1980s and in the decades up to now when there is a longer interval (gap) between the albums and an even longer interval between the good songs. Perhaps that is why, Coldplay have become so big. Because, while U2’s star is still falling, sensitive, traditional and accessible/easy-going rock is still needed. That is certainly catchy features of Coldplay’s music; Coldplay music which is liked/loved by so many and hated by others, because Coldplay’s music is so pure mainstream and does not have the ambition to deconstruct the rock idiom. Nor is there any doubt that Coldplay's sixth album, "Ghost Stories", will part the waters/seas and generate a large, global team of fans and a small, but fierce group of haters. Because the nine new songs sound unmistakably like Coldplay and this even though the album was made under far from harmonious circumstances for singer and lyricist, Chris Martin. His relationship with actress Gwyneth Paltrow crumbled namely in the making of the album, and finally his dream of a united family died. The collapse also appears to have penetrated deep into the verses of 'Ghost Stories'. Chris Martin, a resolute/stout-hearted, but not very good lyricist, here sings and tells the story of a man who undergoes a crisis and a break-up and then undergoes various emotional stages. Finally, the realization emerges that he should continue to embrace love, even if it turns out not to be eternal. »2gether thru life«In an interview Chris Martin talked about a meeting with a sufi master who said that, if he learned to deal with (relate to) his loss, then eventually it would transform and turn into gold. Well, it has not turned into gold, at least not in the artistic sense. The 'Ghost Stories' lyrics are plain/simple, but the emotions of Coldplay have always related more to the music and the voice than to the lyrics. It is also the case this time when one can find lines like these relating to the memory of the time when everything was indestructible, "Got a tattoo that said "2gether thru life / Carved in your name with my pocket knife / And you wonder when you wake up, will it be alright? / Feels like there's something broken inside. "From here on into denial - 'Tell me you love me / If you do not, then lie / Lie to me' - and on into solitude" Late night watching TV / Used to be you here beside me / Used to be your arms around me / Your body on my body. ' Here, at the word level, Bono has always been miles ahead of Chris Martin. But again: it is in the tone of the voice, in the arrangements and melodies Coldplay's feelings are flowing. And they do in 'Ghost Stories', where Paul Epworth was in charge of the production and with contributions from names such as Jon Hopkins and Avicii. However, there is no Brian Eno here unlike on Coldplay's romantic, misty album 'Viva La Vida Or Death And All His Friends' from 2008. A bit in the same vein, 'Ghost Stories' opens with the delicate, quiet 'Always In My Head', which slowly comes into view like a sun over the sea in the morning, and where sacred female voices and electronics imperceptibly leave the soundstage to a soft pulse beat and Jonathan Buckland’s flashing guitars that echo the big idol, the Edge. It is an unusually evocative expression, where, as the first at all, Chris Martin sings 'I think of you. "An "I" addressing (communicating with) an absent "you," as is the case on all of 'Ghost Stories', and thus also in the album’s second song, the also dimmed, slightly soulful 'Magic'. As is the case for most of the songs, this is a subdued, relaxed and semi-acoustic arrangement in a soft, carefully rounded production. As to the composition, there is no hasten(ing) towards a chorus with a salvation, but instead patient focus on mood and atmosphere. As in "Midnight", where the at the same time material and spherical sound has a lot to thank producer Jon Hopkins for - his album in his own name is also worth listening to. A sky full of starsIn »Midnight« Chris Martin’s vocal is also slightly distorted, which is a welcome deviation (departure) from his frequent falsetto. But just the directly communicated intensity (fervour) in the falsetto is one of Coldplay's signatures, and that distances the band from irony and cynicism. So it may well be that Chris Martin is not in sync with the zeitgeist (time spirit), and that he appears a little like an unctuous Bono. But unlike the vast majority of singers on this polluted planet, he has a voice that stands out among all the others. It is a gift, even if the use of voice is sometimes too unique (unequivocal) in its romantic sensitivity. Another problem with Coldplay can be heard in 'A Sky Full Of Stars ", where the band give in to their penchant to please as many people as possible and have teamed up with Avicii – who represents some of today's most bloated, but flat pop - and transformed the song into the kind of music played in training centres / fitness centres. »A Sky Full Of Stars« is in sharp contrast to the following and final song "O". Keys and voice, it's pretty much everything, but filled with blue moods. And 'Ghost Stories' possesses perhaps not the bloody pain that you can hear, for example, on Bob Dylan's break-up album 'Blood On The Tracks'. Or the dizziness represented on Beck’s break-up album, 'Sea Change'. But it's full of atmosphere, and it is bittersweet. In its own, very Coldplay-ish way.
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Post by comicforce on May 20, 2014 6:09:26 GMT
Thanks for your hard work Nancy.
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Post by nancyk58 on May 21, 2014 15:55:30 GMT
www.welt.de/kultur/pop/article127964565/Als-wuerden-Wale-um-Gwyneth-weinen.html 13.05.14 / Coldplay As (if) whales would cry for GwynethThe British band Coldplay releases their sixth album "Ghost Stories". It is about pain in connection with separation, comfort/consolation, and tattoos. It also sounds like that: A warm sensual bath in nine new songs. By Frédéric Schwilden (translated by Nancy Boysen) Chris Martin is a genius/prodigy. Because his very emotional lyrics has not made it to the important libraries in the world so far, then Coldplay’s lyricist and singer has come up with something very exciting. He has simply made sure that the lyrics of the nine songs off the new album "Ghost Stories" were put/let into books in libraries. The lyrics of "Another's Arms" was found in the Singapore National Library. "Magic" in turn was deposited in the Vasconcelos Library in Mexico City. By his marketing team that had left the handwritten lines in books with ghost stories. And of course the fans should look for the lyrics. And, as in Roald Dahl's "Charlie and the Chocolate Factory", together with the lyrics there was a golden ticket inviting the finder and a companion to London to attend a Coldplay concert in the Royal Albert Hall. Whether the finder wants to or not, he/she now has to go to London and listen to Coldplay for more than one hour. How we would like to feel "Ghost Stories" is Coldplay’s sixth album. Coldplay is the band to rely on if you are a film maker looking for a song for some credits, for some scene, in which some sad person is looking out of the window. Coldplay was also used by the Sopranos. And the British band even received a Hollywood Film Award for their song "Atlas" written particularly for "The Hunger Games: Catching Fire". Coldplay continue to make ambient music for the big and small moments in the life of people placing their feelings/emotions above everything, and who think that they are so important that they believe that Wong Kar-Wai would make a movie about their history with the title "My Blueberry Nights 2.0". Chris Martin again thinks that he is so important that he believes that the end of his relationship with Gwyneth Paltrow should be the theme of an entire album. "Ghost Stories" is a concept album about a man who processes the dramatic and sudden end of his relationship. Love is a Bob Dylan tattooTherefore "Ghost Stories" begins with an impressively ethereal guitar played by Johnny Buckland and Chris Martin’s sleepy breathy lines: "I think of you/ I haven't slept/ I think I do, but/ I don't forget/ my body moves/ goes where I will/ but though I try my heart stays still." The singer seems to have been very sad, and even though he has tried all sorts of distractions, his heart still hangs on his Gwyn. "You're always in my head", Chris sings. After ten year’s marriage Chris Martin and Gwyneth Paltrow are now separated. The magazine "Gala" also knows why. They are "just too different," the magazine reported citing an "insider from the circle of acquaintances/friends”. So romantic, so timeless classic "Ghost Stories" might sound, by name, just by European tales of white women, the wild hunt, of Will-o'-the dissuade who dissuades the drunken wanderer at night from the road, so modern is "Ghost Stories" after all. The greatest proof of love of modernity is finally the tattoo. "Got a tattoo that said 2gether thru life," it says in the song "Ink". And you imagine this couple, he in his late thirties, she in her early forties, and on their arms they have had this line tattooed / inked because of a Bob Dylan album entitled "Together Through Life". In the sky is fun fair (carnival) With "Magic" Coldplay has really written another grandiose single. The polyphonic, moving bass riff is minimalistic, just tender. In the background cool drums. "Magic" is actually no Coldplay song. No bombast, no tinsel, just a song. What a song! For "A Sky Full of Stars" Martin sits down at the piano again. “You're a sky full of stars”, he sings, then followed by the Euro Dance synthesizer that sounds like a thunderstorm of steel. If this song had participated at the Euro Vision Song Contest, then it would have got a high ranking. But upon listening to it, you wonder if Coldplay really wanted to write the dodgems anthem for the opening of the carnival/funfair season. You cannot imagine that Martin tinkers with Buckland in the rehearsal room, and then Buckland says, as he has just found this Eurosound: "So, Ladies and Gentlemen, here we go. With 120 km/h we catapult you to the south. Up(wards) it goes. The chips in the scooter, und off goes the ride!" It must have been different. But probably it was like this. Lyrics like "Twilight" dialogues"Ghost Stories" is not scary, it is just incredibly tiring. Lyrics like Twilight dialogues – "In the darkness before the dawn" – complement each other with this Coldplay sound that always sounds as if the band would write the soundtrack for the new, so far unreleased and for a long time deemed-as-lost Jacques Cousteau film "Humpback Whales - Gentle giants of the Sea". Always so hard floating. Now and then Martin’s head voice, like the song of the diving mammal he echoes bubbling through the Mariana Trench. Some say that the origin of our world lies in the singing of the whales, you can hear the Fibonacci sequence and even the number Pi out there, that is the natural variables that let us be humans. But finally whale song is just whale song. And no matter how long you listen to Chris Martin sing, it does not make you understand the world. Coldplay: "Ghost Stories" (Parlophone) released on 16.05.
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Post by nancyk58 on May 21, 2014 15:58:11 GMT
SZ.de: "A skinny man who grumbles and whines" - www.sueddeutsche.de/kultur/gh...eint-1.1965061 16. Mai 2014 15:01 "Ghost Stories" by Coldplay: A skinny man who grumbles and whines On Coldplay’s new album "Ghost Stories", singer Chris Martin processes his separation from Gwyneth Paltrow. The emotional highs and lows ensure the more interesting musical moments – but unfortunately the singer overdoes / exaggerates it with his "Chris Martin manner”. By Max Fellmann (translated by Nancy Boysen) Please, how can you listen to this record now, without having immediately the tabloid press reports in your head? Without thinking that the singer Chris Martin and actress Gwyneth Paltrow have just separated very publicly? Without shaking your head again at Paltrow's statement - blah, it is now about "conscious uncoupling", conscious uncoupling? The celebrity Chris Martin overshadows the musician Chris Martin so much at the moment that you cannot ignore the question how autobiographical his new album might be, whether you like it or not. But he and his colleagues evidently see it the same way, Coldplay announce "Ghost Stories" without further ado as a concept album with the theme: Separation: It is telling the story of a man who experiences a hard break-up and then goes through all the emotional highs and lows – until he can finally accept his new situation. Martin himself says: "The basic idea behind this album was for me: How do the things one has done in the past – I call them ghosts, thus "Ghost Stories" – influence the present and the future? For some time I had the feeling that they would pull me down and ruin my life". He allegedly managed to come through with the help of a Sufi master. The emotional highs and lows ensure the more interesting moments of the albums, but the final salvation – in order to anticipate the most irritating thing - leads to the most unnecessary piece of music that Coldplay have ever recorded, it's called "A Sky Full Of Stars", stomps, therefore, on a dull greater disco beat, and the piano that Chris Martin normally plays with much taste repeats exactly the sort of cheap Euro dance figures that make you automatically look for small change for the car-scooter. But well, yes catharsis can also mean simply to whoop it up (have a very good time) to cheap music in the club. The only question is: Why does it have to be Martin himself who makes the cheap music? The song just breaks off / ends, this is the silence in the dying relationship What happens in the eight other pieces of music is luckily better. For “Ghost Stories” Coldplay have for the first time teamed up with star producers such as Timbaland or Avicii, the Sufi masters of electronic contemporary music. Of guitarist Johnny Buckland, who for many years shaped the sound with his single-note lines, is prompt little heard. Instead: a lot of electronics, drum machine, synth basses, party record nonsense. The album begins with the ethereal "True Love", violin clouds and a restrained computer beat, for this Chris Martin finds good words for the dull moment when nothing is true anymore, but the self-deception still works: "Tell me you love me / If you do not, then lie / Lie to me", then a cross-atonal guitar solo disturbs the harmony, the collapse of illusions, a bit too much, but effectively translated into music. So it continues, across the feelings. "Oceans" trickles nicely with acoustic guitar and nervous strings, Chris Martin sings about the farewell: "I'm ready for the change," or rather, "I'm ready for the pain '. The song "O" simply stops in the middle, two-minute break, yes, yes, already understood, the silence of the dying relationship. Then Midnight", which is a bit annoying with vocoder choirs and synth nonsense - but you have to admit that the band again and again tries something new, something different on this album, that they are determined to move away from the Coldplay sound. That is also true for "Magic", the beautiful first single from the album, surprisingly not a classic Coldplay song, but a little self-made sounding, white version of R'n'B, rather awkward and therefore quite charming. Good so far. But pity: The further the concept album comes in its story, the flatter are the songs. Here the tired old saying that great art often comes from pain seems to fit again. With each song Chris Martin or the singing narrator of his songs is better, major chords and harmless spring melodies follow, relief is truly the opposite of tension, also musically. The songs number six to eight are pure fillers before finally the greater disco opens the doors for said freedom dance. The band has lost the "Yellow" dynamism The real problem of "Ghost Stories" is however the lack of dynamism. Here everything flows too uniform. On their first two – excellent – albums Coldplay mastered the rousing change between quiet intimacy and the big, anthemic eruption. That gave their best songs the tension, especially their first hit "Yellow", which even today seems to be a favourite child for the Coldplay audience (when 10,000 concert-goers at the same time whisper to each other, "You know, I knew them already back then when they were still quite unknown …”). But Coldplay have lost the "Yellow" dynamism (momentum) over the years. The songs became more uniform, the high waves subsided. The path that Coldplay took at the beginning of a song, they now usually retain for four minutes. This was the case for the anthemic songs - often throughout sounding like one single chorus. And that now applies to the quiet songs on "Ghost Stories": almost all consistently restrained and unexciting. The other problem is that this time Chris Martin overdoes the Chris Martin manner. He has by all pathos always dared also to make mistakes. He has always ventured tones that are actually too high for him, at times he also sings so that it does not sound beautiful in the classic sense, but rather miserably. At its best, Martin is lyrically and sonically practically naked there, a skinny man who grumbles and whines as if he would expect to be pelted with rotten eggs. Just listen to the middle and then again from the beginning On the last tour he even thanked his audience "that you are Coldplay fans, although that implies being object of so much ridicule." This distinguishes him from the other large pathetics of pop, Bono. While he is always on the safe side (rather wearing platform shoes than appearing too small next to The Edge), Martin shows his fans - and his many enemies – his bare chest. In the case of "Ghost Stories", he tears his shirt wide open in the end. To make an album to process a hard separation publicly, we have understood it, but to make sure that everybody understands it, Chris Martin explains everything as clearly as possible. Only one thing hasn’t he said: The best thing is if you only listen to "Ghost Stories" to the middle. And then again from the beginning. Happy endings do not give so much.
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Post by wabbit on May 22, 2014 1:27:43 GMT
Pretty well-written fan review: broken--drums.tumblr.com/post/86413956614/coldplay-ghost-stories-7-0-popular-music-i-ePopular music, i.e the most successful branches and examples of it, is always a sort of mirror. Often intentionally broad and vague, it can be warped by its listeners into whatever they want. They can take its lyrics and bend it into their own circumstances, making it “their” song. On the rock side of this spectrum, no one has done this better than Coldplay. Their biggest songs, “Clocks”, “Viva La Vida,” “Fix You”, to name a few, are executed on a simply enormous sonic scale. But I defy anyone to figure out what the hell they’re actually about. We all know them, and a lot of us, secretly or not so secretly, like those songs a lot. But they aren’t personal, except to ourselves. Coldplay, for the last decade-plus, have routinely executed this brand of universe-sized stadium rock for the gathered masses to enjoy. They have had ups (the impassioned, colorful A Rush Of Blood To the Head) and downs (the unfocused sonic splatterfest Mylo Xyloto) but have rarely strayed too far from a middling level of quality. So, when the quartet dropped “Midnight,” there was a collective gasp in the band’s worldwide fan base. Quiet, contemplative and mostly percussion-less, the song glided quietly along, never aiming that high. Then, with the announcement of frontman Chris Martin’s split with longtime wife Gwyneth Paltrow, it all became clear. Here it comes. The Coldplay breakup album. Where Chris Martin actually gets personal for once. And indeed, it certainly is the stereotypical, contemplative breakup album. By far the most shy Coldplay album ever, it moves around uncertainly between textures. Sometimes the band sounds incredibly sure-footed and strong in their exploration, sometimes they sound lost. But overall, Ghost Stories is nothing if not the most intriguing album Coldplay has released to date. Believe it or not, the band does somehow manage to pull of the “concept album” part of Ghost Stories. Sonically, its a beautiful thing. The band really does a fantastic job of purveying the colorless nature of the breakup, highlighting the lack of clarity that usually comes with it. And even during its lowest moments, the album’s unifying theme remains visible. But, with that solidly intact, Chris Martin really has a lot of freedom to work around with these songs. And he takes the band in all sorts of places. For one, “Midnight” is probably the most interesting song the band has written in years, despite its almost absurd similarity to the work of Bon Iver. Many, far better, bands than Coldplay have gone in to a new album making what turn out to be empty promises of radical shifts and new directions. With “Midnight,” Coldplay (seriously, of all bands, Coldplay!) actually went ahead and did it. It truly is a beautiful song, one that’s not very original, but one that has a surprisingly subtle edge to it. “Magic,” although rife with cringe-inducingly simple lyrics (“call it magic/call it truth/call it magic/when I’m with you”,) also has some pretty instrumental flourishes that make it a great single. Guy Berryman’s simple but propulsive bass line drives the song, and keeps it from sinking into saccharine gestures. "Oceans" also serves as a smaller highlight. A driving acoustic song that brings to mind the band’s debut, Parachutes, it’s a showcase again for Martin’s more personal lyrics. But the skies aren’t all crystal clear for Ghost Stories. Many of the album’s other songs, like the ballads “O” and “Another’s Arms” and the more lively “Ink” have strong undercurrents, but play out like a dog chasing a car. They have momentum, but when they get to a certain point, they don’t really know what to do with themselves. And there are also a couple outright stumbles. “A Sky Full Of Stars,” a collaboration with super-producer/EDM magnate Avicii, is clumsy at best. Even though the band’s best moments are always a rush, Coldplay were not meant for the dance floor, something that becomes apparent quite quickly in the song. The syrupy ballad “True Love” also falls incredibly flat. Coming right in the middle of the album, its a bit of a momentum-killer that dampens the impact of “Midnight,” the song that follows. Ghost Stories keeps getting labeled as a “transition” album. And while it does show Coldplay taking some interesting turns, its hard to imagine the band swimming out into more uncharted waters than this in the future. It is a risky venture, an album that is at once both committed to sounding a certain way but also determined to move around constantly. It doesn’t end up being memorable so much as an emotional breakup album, but more for its textures and its feel. It shows that, no matter what Coldplay does, no matter how personal or impersonal their music may be, they simply know how to sound good. And in the end, that’s enough to keep me unashamedly in tune with what they do.
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Post by wabbit on May 22, 2014 1:29:06 GMT
one more, and this ties into what Guy was talking about on the behind-the-scenes: sharerwanderer.tumblr.com/post/86396111245/may-21May 21 A friend told me each album tells a story, and to listen from beginning to end before you’ve become accustomed to each song individually. She told me this last night, suggesting I do so with the new Coldplay album Ghost Stories. It is so heartbreaking. From my interpretation it is a story of love and loss. Martin captures those highs of the first sight, first touch, first memory… beautifully. And I must say, music such as that is so pleasant to hear right now because I think that is where I am. I am stuck in an overly high and hopeful place for someone. And I know how unrealistic this place is. But I guess hold onto it as long as you can… Then Martin of course delves into loss. Which almost terrified me as I listened. You get sucked into his story when you listen to an album this way. If I am wrapped up in this heavenly place for this incredible individual, what happens next? I picture only the best. Only moving forward. But this album just reminded me how wrong you may be. F**k I don’t want to be wrong… But Martin’s album ends by reminding us to move forward. Sounds super super cliche, but it speaks simple and true. Something I have experienced and I am sure we all have. I am a fan. But if this pure and complicated love between two individuals who are separated by land and water ever ends.. that will be unbearable. I know, and am for the first time admitting it, but I will always wait for him. This final year of university coming up we will be separated. But i would go to him afterwards. I know I will. I hope he wants me to.
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Post by nancyk58 on May 24, 2014 18:57:50 GMT
REVIEW OF COLDPLAY’s 6TH STUDI0 ALBUM “GHOST STORIES” published in Danish MetroXpress on Monday, 19 May 2014
Written by Rasmus Junge / translated by Nancy Boysen
At the boring mercy of the feelings / In the boring power of the feelings
SOPORIFIC. “Ghost Stories” is released immediately after Chris Martin’s separation from Gwyneth Paltrow. That can be heard on the record which, however, drowns in linguistic clichés.
You feel it from the moment when Chris Martin, composed, but crestfallen/disappointed sings the first lines on a bed of ambient synth surfaces on the opening song, “Always in My Head”.
Coldplay’s sixth studio album does not possess the same expressive sensitivity which is the core of their success. At the same time, the opener also demonstrates the album’s 2 large knots / difficulties: Lack of melodic power and too common / too often repeated linguistic clichés.
“Ghost Stories” is released at almost the same time as Chris Martin’s separation from actress Gwyneth Paltrow was announced, and he has openly admitted that the album deals with the wrecked marriage.
Most people can relate to being left by / leaving one that you love.
But on “Ghost Stories” this mode is primarily described with sleepy terms varying between “tell me you love me, if you don’t then lie” (“True Love”) and “I don’t care, go and tear me apart” (“A Sky Full of Stars”). Banality is not equal to fervour.
In the same way as Chris Martin is in an existential phase of his life, Coldplay seem a bit confused about their expression. They are no longer a rockband, the guitar is markedly absent, but the electronic-oriented sound that characterizes “Ghost Stories” does not seem to be well thought out, and it seems to be too much controlled by whims (sudden ideas) – most markedly when Avicii has been allowed to place his bombastic EDM (electronic dance music) columns in the extremely overpompous “A Sky Full of Stars”.
It works best on the hypnotic “Midnight” and on the quiet (subdued), but very detailed “Another’s Arms”. Unfortunately, these 2 songs are the exceptions in this musical snooze party.
3 stars (out of 6)
Coldplay’s new playmates
Collaboration. In addition to the producers Jon Hopkins, Paul Epworth, Daniel Green and Rik Simpson all of which Coldplay have previously collaborated with, Coldplay have teamed up with new people for the recording of “Ghost Stories”:
Avicii Swedish Tim Bergling who has achieved stardom on the EDM stage in recent years has co-written “A Sky Full of Stars” with the band. It flexes his characteristic synth-tide and pounding rhytms in the chorus.
Madeon The only 19-year-old French producer broke through in 2011 with the mashup video “Pop Culture” that has had 23 million views on You Tube. He has been on tour – and worked with – Lady Gaga. He has not been credited as songwriter or producer, but he has contributed to “0”, the final song on the album.
Apple and Moses Martin Singer Chris Martin’s two children, daughter Apple and son Moses, have apparently inherited their father’s musical genes. Both take part (perform) on the song “O”.
Timbaland He has the status of a legend for his productions for artists like Justin Timberlake, Aaliyah and Missy Elliott, who have set a fashion for the r’n’b genre. On “Ghost Story” Timbaland has put extra drums on the song “True Love”.
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Post by chipotle on May 29, 2014 12:19:04 GMT
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