----Ada Wofford
------Released 22 November 2019 on Parlophone
It’s a good thing we don’t cover lyrical content here because apparently the lyrics on this album are a bit controversial, which I didn’t even notice as I rarely pay attention to lyrics. The other thing I didn’t really pick up on is the influence of “world music” on this album. Apparently, the band brought in musicians from various cultures and countries to help out on a few of the tracks, such as my favorite, “Arabesque.” It’s surprising that I didn’t pick up these influences as I listen to a lot of non-Western music but I think this might be the very point to be made: These influences are so subtle that they blend right into to Coldplay’s sleek, hi-fi pop. Sure, there’s someone singing in some language I’m not cultured enough to identify on the track “Church,” but it comes off as nothing more than a product of the production—Just something else to add to the song and give it some character. Unlike with late aughts era Vampire Weekend and Dirty Projectors, the non-Western influence on Everyday Life isn’t nearly as pronounced.
Typically, I consider Coldplay a guilty pleasure. Songs like “Don’t Panic” and “Speed of Sound” get stuck in my head for days but always with a tinge of shame. I don’t know what it is but I choose to call it punk-guilt, and just like Catholic-guilt it’s a powerful thing! The only Coldplay album I will lovingly defend is the Brian Eno produced Viva la Vida (and the Eno part gives me some cred). Coldplay made a real effort to grow as a band on that album. They explore new sounds and rhythms and the songs possess more depth. Everyday Life comes close to the standard they set with Viva la Vida but falls a little short.
Everyday Life seems to have a little bit of an identity crisis, almost as if the band and the record executives were fighting for control. The album opens with a lush instrumental, which is followed by two sleek pop ballads, both possessing a bit of Radiohead edge but not enough to actually be compared to Radiohead. After these we hear a gospel number that sounds as if it were recorded live, featuring a single piano, Chris Martin’s vocals, a choir, and plenty of handclaps. It’s a charming little piece but it feels a bit borrowed, a bit cliched. This track is followed by the cinematic pop ballad, “Daddy,” which I promised myself I wouldn’t crack any jokes about. It’s a lullaby of sorts and I guarantee it will be in either a commercial or a Pixar film at some point in the near future.
This back-and-forth between lo-fi ditties and huge pop productions continues throughout the album. If you’ve read my previous reviews, you’ll know that I prefer the lo-fi ditties. The track “WOTW/POTP” sounds like it was recorded on a phone while sitting on the porch. I’m sure it wasn’t, but I love that it sounds like it was. These little ditties make me wish Coldplay were a little braver, brave enough to completely eschew the big pop bangers and ballads for an entire album. I’m not saying put out an album of 1:16 length acoustic tracks, but just put out something a bit braver.
All in all, Everyday Life is a solid album and easily the most interesting thing Coldplay has put out since Viva la Vida, albeit not quite as impressive. Despite my love for the lo-fi ditties, the standout tracks are “Trouble in Town,” “Arabesque,” and the infectious banger, “Orphans” (Read my write-ups for “Arabesque” and “Orphans” for my full opinion on those). I’m not going to bother discussing their gear as you can find the same information I can find with a Google search. Watch a live video of “Arabesque” below:
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