Coldplay-Lovers in Japan and Reign Of Love

Lovers, keep on the road you’re on
Runners, until the race is run
Soldiers, you’ve got to soldier on
Sometimes even right is wrong

They are turning my head out
To see what I’m all about
Keeping my head down
To see what it feels like now
But I have no doubt
One day, we are gonna get out

Tonight maybe we’re gonna run
Dreaming of the Osaka sun
Ohh ohh…
Dreaming of when the morning comes

Coldplay-Lovers in Japan and Reign Of Love

Lovers, keep on the road you’re on
Runners, until the race is run
Soldiers, you’ve got to soldier on
Sometimes even right is wrong

They are turning my head out
To see what I’m all about
Keeping my head down
To see what it feels like now
But I have no doubt
One day, we are gonna get out

Tonight maybe we’re gonna run
Dreaming of the Osaka sun
Ohh ohh…
Dreaming of when the morning comes

Coldplay Viva La Vida

To say there has been a lot of anticipation for Coldplay’s fourth album, Viva La Vida, is an understatement. Having enlisted legendary leftfield producer Brian Eno, borrowed their album title from a painting by renowned Mexican artist Frida Kahlo and made tantalising remarks about sonic reinvention, the world has been curious (to say the least) to hear what the ‘new’ Coldplay might sound like. Viva La Vida definitely makes some departures from the band’s usual formula, which happens to be one of the most commercially successful rock-pop blueprints of recent years. The plangent chords, emotive melodies, stadium-rock rhythms and universal lyrical concerns remain, but Martin and co. have gone out on several limbs here, incorporating instrumental tracks (“Life In Technicolour”), using subtle North African and Latin elements (“Yes”, “Strawberry Swing”), and overhauling previously strict verse-chorus-verse structures in favour of slightly more avant arrangements. The old Coldplay still shine through (see tracks like “Violet Hill” and the title song) but even their classic sound feels more muscular and confident. The band’s new flourishes, cosmetic and self-conscious as they may be, are enough to make Viva La Vida a welcome break from the old routine–Danny McKenna

Coldplay Viva La Vida

To say there has been a lot of anticipation for Coldplay’s fourth album, Viva La Vida, is an understatement. Having enlisted legendary leftfield producer Brian Eno, borrowed their album title from a painting by renowned Mexican artist Frida Kahlo and made tantalising remarks about sonic reinvention, the world has been curious (to say the least) to hear what the ‘new’ Coldplay might sound like. Viva La Vida definitely makes some departures from the band’s usual formula, which happens to be one of the most commercially successful rock-pop blueprints of recent years. The plangent chords, emotive melodies, stadium-rock rhythms and universal lyrical concerns remain, but Martin and co. have gone out on several limbs here, incorporating instrumental tracks (“Life In Technicolour”), using subtle North African and Latin elements (“Yes”, “Strawberry Swing”), and overhauling previously strict verse-chorus-verse structures in favour of slightly more avant arrangements. The old Coldplay still shine through (see tracks like “Violet Hill” and the title song) but even their classic sound feels more muscular and confident. The band’s new flourishes, cosmetic and self-conscious as they may be, are enough to make Viva La Vida a welcome break from the old routine–Danny McKenna