Customer Reviews

Mylo Xyloto

5 star:		(114)
4 star:		(60)
3 star:		(34)
2 star:		(28)
1 star:		(35)

 

 

Wow. I am really shocked how much I like Mylo Xyloto. I am a long-time Coldplay fan and just love their music, but I wasn't sure about this record due to the slight change in style. The first half of the record I was mostly familiar with due to the singles, live versions and the side A sampler. The only song on side B that I had heard was Major Minus. Obviously, the second part of the record was what I was looking forward to the most as it was mostly new, unheard Coldplay!

I can definitely see why this record has fans divided. It is a new sound for Coldplay in terms of production and direction. However, there are many tracks where 'early' Coldplay is still there, just under new layers. Utimately, I gave the record a 4/5, with a point deducted for some unnecessary over-production. I do truly feel it deserves it though. It is a good mix of all the previous records, while still moving forward.

Mylo Xyloto:
Just beautiful. I love this as the opening track and the transition into Hurts Like Heaven. Although, I am with others who have said it's hard to listen to just MX or HLH by themselves...

Hurts Like Heaven:
Probably the track I was most fearing as I love the live version and people were saying it was so different on the record. I was pleasantly surprised that it did not crush my enjoyment of the track! I LOVE this song! Yes, it is a bit over-produced, but I also think that makes it interesting. There are so many sounds and layers to the track that a good set of headphones brings out.

Paradise:
No surprises here. The second single. It's definitely a grower. I liked it when I first heard it, but the introduction is just fantastic the more I listen to it. It fits so well on the record now I have heard it in context.

Charlie Brown:
This is my favourite track on the record. It is such a great track and should definitely be released as the next single! The piano part at the end is just fantastic. This will be a big hit and crowd-pleaser!

Us Against The World:
LOVE! This is such an amazing song! I adore the introduction. I loved this track live and this version just makes it all the better. Only quip is I wish Will's duet portion was more pronounced. The first song on the record that sounds like 'early' Coldplay material.

M.M.I.X.:
This instrumental makes Every Teardrop Is A Waterfall flow within the context of the record. If this was not here, it would be such an abrupt change from UATW.

Every Teardrop Is A Waterfall:
Again, no surprises. The first single and a really upbeat and optimistic song. It is pretty dancey for Coldplay, but it's a great song nonetheless.

Major Minus:
I had already heard this from the Every Teardrop Is A Waterfall EP. It's a fantastic track and really like it. I would have preferred less distortion on the verse vocals, but Jonny's guitar solo is awesome!

U.F.O.:
This is such a lovely acoustic track and reminds me so much of 'early' Coldplay. The melody is great, but I just wish it was a tad bit longer.

Princess of China:
I was really surprised by this one! First, Rihanna being on the track is strange. I think this might be one of her better vocal performances though. The song itself is very RnB to me, but I don't mind it. I am surprised to be honest as I was going in thinking I was going to really dislike it, but I think if this is released as a single, it will probably be a big hit. However, it's definitely one of my least favourite tracks on the record.

Up In Flames:
I really didn't think I was going to like this song. I had heard a clip of the Austin City Limits live version and it just didn't do anything for me. However, within the context of the record and with the added production (think Massive Attack style beat), I think this is a good track. Again, it reminds me of 'early' Coldplay but it's not up to par with the rest of the album. I consider this track and Princess of China to be the low point of the record really.

A Hopeful Transmission:
Probably the best instrumental on the record. It's basically a more upbeat 'Mylo Xyloto' with a sort of Latin vibe. It flows so well into Don't Let It Break Your Heart.

Don't Let It Break Your Heart:
Wow. One of my favourite tracks! As with Hurts Like Heaven and Major Minus, I wish there wasn't as much distortion on Chris' voice, but really that's the only negative I see on this stellar track!

Up With The Birds:
A fantastic closer! Again, like 'early' Coldplay but with a modern twist. It starts so atmospheric, I had no clue what direction it was going to go! It's a beautiful track and such a great way to close the record!

I know that, for reasons unfathomable to me, it isn't very cool to be a fan of Coldplay these days. It makes me sad that my favorite band gets so much hate. But I have been a super fan from the very beginning, and this album really cements my love for this fantastic group. Mylo Xyloto very accurately reflects the Coldplay you see in concert. Hyper, fun, happy guys, and a sweetness that makes me want to cry a little. Four men whose love for making music shines through. Yeah, this album is different from Parachutes and A Rush of Blood To the Head (Sparks is now and forever my favorite song), but I've loved listening to this band grow. I wouldn't want to listen to 5 albums of the exact same music. Stand-outs for me on Mylo Xyloto are Paradise and Us Against The World. Paradise is some beautiful pop and UATW is a classic, sweet Coldplay ballad. For me, this album is just another great reason to be a Coldplay fan.

I was hoping the latest offering from Coldplay would match their last LP, which was a tall task in my book. "MX's" predecessor, "Viva La Vida or Death and All His Friends", was a dark, progressive journey into the realm of broken hearts, war, death and glimpses of hope and prosperity. The songwriting, producing and overall effort was top notch. It remains on the top of my Desert Island Disc list. To say I had lofty expectations for "MX" would be an understatement.

After one listen I am proud to say that my expectations were easily met, and at times surpassed.

I love music that encompasses a thick sound. Coming from the school of progressive rock, my two favorite bands (Genesis and Marillion) always had full, dynamic properties to their songs, many washed with synthesizers, reverb and other atmospheric effects. And it wasn't as a gimmick; it was because those properties were necessary to sustain the mood. When "Viva" came out, songs like "Cemeteries of London" and "42" made great use of these techniques, and luckily it continues on "MX". Strings, synthesizers, and other choral-like sounds are doused over many of the songs, and guess what....it works! "Paradise" is absolutely gorgeous, highly atmospheric, and sounds perhaps a distant relative of "Lovers in Japan" mixed with "Strawberry Swing." "Every Teardrop is a Waterfall" is a bright, energetic celebration, with reverbs, soaring guitar and thick chords surrounding it. "Charlie Brown" will no doubt be a live anthem, with a catchy hook and, dare I say, groovin' sound.

Although I am praising the use of effects heavily, there are moments of stripped-down glory reminiscent of "Parachutes." Songs like "U.F.O." and "Up in Flames" remind me of the early years, displaying a very simple sound, if you will, showing that Coldplay can write and perform quality songs that can both rattle the walls and yet be calming and soothing. No doubt these lads have mastered the skill of diversity.

The only letdown on this album was the song "Princess of China." I'll probably get flamed for this, but I really don't like Rihanna's voice. If I wanted a nasally, dime-a-dozen singer who is pushed by the record company merely because of their looks or "trendiness", I'll put on a Lady Gaga CD and pray for my ears to fall off. It's a shame, because the song itself is actually catchy and fun, but her voice detracts from it. Again, just my opinion, take it or leave it.

I love this band for many reasons.....the humbleness of its members, their songwriting, their live shows (which are incredible), and the fact that they offer their music on vinyl. Speaking of which, Amazon is stocking the vinyl version (available Nov 1st), and the band's website is offering a Special Edition bundle with a graffiti pic disc (on 180 gram vinyl), CD, book, and tons of other stuff in a box set. Pick your poison....there are many ways to celebrate the new "MX" offering.

Thank you Coldplay for continuing to make quality music and giving the fans such great live shows. We look forward to seeing you on tour in the States in 2012 !!

I've been a pretty big fan of Coldplay ever sense they first broke out a decade ago. They've become incredibly popular, and much like Creed or Nickelback, when you get that popular a lot of people start to hate you. Despite that fact that it isn't very "cool" to like Coldplay, my softer side has always found appeal in Chris Martin's beautiful melodies and strong lyrics. For 8 years I had never heard a Coldplay song I didn't like, even though some were better than others. Even all of their B-sides were excellent and probably deserved a mainstream release. As much as I enjoyed A Rush Of Blood To The Head (2002) and X&Y (2005), I wondered if they might become stagnant or redundant as time went on. But no, in 2008 they released Viva La Vida which completely blew me away. The band expanded their sound into something much more epic and unique, and it was one of the smartest albums I'd heard in a long long time. I couldn't wait to hear more material from them, even if it was just more of the same. After a long 3 year wait, the band finally released Mylo Xyloto. Once again, it took me by surprise, but not in the same way...

This is not the same band that gave us songs like Shiver, Trouble, Moses, or Talk. Make no mistake, I'm all for a band experimenting and breaking new ground, but Coldplay has seem to cross genres from being an alternative folk band to a mainstream power-pop group. When I first heard the single Every Teardrop Is A Waterfall, I thought I had accidentally clicked a link to a new song from Katy Perry or Kanye West. The music and the beat is very much like something you'd hear on a mainstream pop radio station that would play the latest from Pink and Lady Gaga. Luckily, Chris Martin's voice keeps the song likeable. I admit that it grew on me more over time, but it's still nothing as good from earlier releases. The next single is Paradise, and again I wasn't very impressed. Many fans who don't like this album say that this is the one good song on here, but I still don't care for it. Hurts Like Heaven opens the album and even though it's playful and maybe even cheesy, I actually enjoy it. My favorite track on here is Charlie Brown, which has a lot of beautiful sounds and some heartfelt singing. If the album had more tracks like this and Don't Let It Break Your Heart, I would have given Mylo Xyloto 4 or 5 stars. Another decent tune is Major Minus, even though it seems like they're giving an obvious nod to U2's material from the '90s. The rest of the album is kind of plain. The songs are definitely using different sounds, but most of them just didn't grab me. I don't hate this album at all, but only a couple songs are worth getting excited about. Actually there is one song on here I absolutely don't like... It's called Princess Of China and it features singing from Rihanna. Much like Waterfall, this song has a very generic pop sound, which is just odd at first when Chris is singing. But once Rihanna chimes in for a verse and chorus, the song officially becomes music that I hate. It's the only song Coldplay has ever put out that I absolutely can not listen to. I'm glad the group has expanded their sound, and for all I care they can use all the keyboards and samples they want as long as the music is cool. But once they take on a trashy generic pop music sound, that crosses a line. Most of the album is still pretty decent and not nearly as bad as some people have made it out to be. But to me, Coldplay went from being a band who could do no wrong to putting out a thoroughly mediocre album. There are a couple songs on here that sound like classic Coldplay, and I really enjoy half of Mylo Xyloto. In the future though, I think the band needs to go back to finding inspiration in The Beatles and U2 rather than Katy Perry and Black-Eyed Peas.

I'm a fan of Coldplay. Even if their work isn't revolutionary, it sounds good, and each album has been different from the last. I really, really fell in love with them after hearing their astonishingly good album Viva La Vida. With it's really interesting world-inspired music, moving string sections, crisp instruments piano parts, just beautifully played guitar parts, and unique rhythms, it's an all around great album that's different from most anything I've heard in the past. Needless to say I was eagerly awaiting this new album, expecting it to follow from the greatness that inspired Viva.

To some extent, they hit the mark musically. Their songs are catchy, fit the general musical feel of 2011, but still differentiate themselves with Chris's vocals and Buckland's signature guitar riffs. It's good music.

However, words cannot express the disappointment I have with the mastering on this CD. It is absolutely horrible. Every single track is at 11 with the volume for the duration of the song unless it fades in or fades out. There is no dynamic contrast at all. Sections that are supposed to sound loud and impressive and acoustically huge do not... which is really a crying shame because so many of the songs would benefit from such dynamics. What should be the huge crescendos in the songs instead end up sounding boring and flat, sitting right in with the rest of the song. The mixes are terribly crowded and everything is smashed together and muddy.

The vocals and drums especially suffer from this. Instead of the vocals being out front during the chorus and at times when they are clearly singing the lead in the song, they end up pushed together with the rest of the "accompanying" parts and sound like they are competing for acoustic clarity. Vocals literally sound like they are clipping at times ("Paradise"'s chorus, "Princess of China" during Rihanna's vocal lead in the latter half of the song, what would be "Charlie Brown"'s huge energy building bridge at 2:30). Chris and co don't have any room to budge volume-wise, and because they're very dynamic, it doesn't surprise me that they were clipping considering the job done on rest of the instruments.

Cymbals sound harsh, overwhelming and literally make me cringe. The bass drum is far too loud, even with the intention being that this album have songs that sound somewhat like dance music. What sounds like a timpani drum in "Major Minus" ends up being far too loud and flattens out at what is supposed to be its dynamic peak. Synthesizer parts sound terribly distorted, and not just for effect in the song. Strings, synthesizer pads, and piano parts, which in past Coldplay songs have been beautifully crisp and sounded excellent sound like they've lost a significant amount of fidelity because they've had all the emotion compressed out of them (listen to the strings and accompanying pads on "Paradise", especially at the drop; the pads in "Charlie Brown"). After this process, they are cranked up to their proper levels with the terrible artifacts of squashing sound present and loud and clear.

The ending to "Charlie Brown," in particular, sounds like it was played on the piano from "The Scientist," and should have been played like the small piano motif at the end of "Cemeteries of London." It just sounds so terrible in "Charlie Brown." Where as the piano in both of these other songs has a wonderfully rounded out and clear sound, breathes beautifully, sounds like a real instrument, and actually varies properly in volume with the rest of the song, the piano at the end of "Charlie Brown" sound overdriven, fuzzy, fake, and hurts to listen to as a piano player.

It is beyond me how this album got out of the door with Coldplay's approval. The sound engineers ruined all the small things that make instruments sound good. Instead of having clear, distinct sounds for each one of the instruments, it become hard and requires significant effort on my part to pick out one sound from the next. Everything blends together in an aural mess that just does not sound good. Emotion from dynamics is for the most part lost.

I can only hope that they will get a real, professional recording engineer who knows how to mix rock music correctly to remaster this. If so, they should distribute a digital version of that remaster to everyone who purchased the album.

I'm incredibly disappointed. This is the only Coldplay album I regret buying. I only give it two stars because I do like the music.

OUCH!! I haven't felt the sting of buying an album this disappointing in a LONG time! Although I wouldn't count Coldplay among my favorite bands, I keep following them and I'm interested to see what they do, but each album I've eventually bought since "A Rush of Blood.." leaves me a bit disappointed and underwhelmed. Sure there were some nice songs and some interesting moments that hinted at a band that could forego the industry hype and the "next U2" mantle they seem to have so willingly snatched and tried to shoulder. It was enough to keep me listening and hopeful...until NOW.
From the start, this album just reeks of a rock band desperately trying to stay relevant by investing in overloaded pop hooks, guest vocals and sickenly sweet songs pandering to a mainstream pop audience. In addition, Coldplay has followed the U2 playbook to a "T" and know that its a new decade and they need to reinvent their sound and make a juggernaut of an album much like U2 did with Actung Baby. In fact the attempts to do so are shameless...from the street graffiti patchwork style album cover, odd foreign name for the album and more club oriented rock songs. Sadly, these comparisons only reveal how much better of a band U2 were on Actung Baby than Coldplay. Where Actung Baby was bold, risky and edgy this album is so glossy and smooth the record execs themselves couldn't have designed a more sugar coated album for mass consumption.
The first song, isn't even a song, but instead a tiny little snippet of intro music that does nothing for the song or album (by the way, there's two or three more of those between songs that inexplicably given separate song titles). Hurts Like Heaven hurts the ears in its attempt to slam you into its wall of electro-pop/rock which along with Chris Martin's annoyingly distorted and buried vocals after WAYYYYY too much sugar and caffeine. Over and Over throughout this album Coldplay keeps playing that same card of a short bit of pointless atmospheric music followed by a BOOM of electric noise and bass. I've figured out that the reason Chris Martin's vocals are so buried is that he's not saying anything of substance and the vocal melodies just aren't that strong on most of the songs. So what do you do? Pile on more production of course!
The sound of the album does work on a few of the songs. Adding to my disappointment is that "Every Teardrop.." was the first Coldplay song that really grabbed me since "In My Place." Every Coldplay album seems to have this one defining song and this or possibly "Paradise" is it. It works perfectly as a blend of a great dance/rock beat, effective synth chords and good innovative guitar playing. Paradise is another song that works well and sounds much better on the album when you can really hear that booming electonic bass sound. I also like Major Minus with its edgier acoustic guitar riff. That's about the only interesting high points of this album. Coldplay tries to strip a few of the songs down to their old simple acoustic sound on a few ballads. However, lyrics and melodies are so overly poppy and sweet they could have been written by Disney for Miley Cirus or Kelly Clarkson to sing.
I have kept the hope alive to hear something truly creatively and artistically on par with "A Rush of Blood..." Not Coldplay constantly trying to be U2. Only U2 can be U2, so just be Coldplay! Stop the hero worship! Brian Eno's production with U2 was great, but that was 20 years ago! Find your own producer, your own "Eno" that makes Coldplay shine!
I just watched the Pearl Jam 20 documentary the other night which puts even more prospective on this album. Pearl Jam consciously shunned pop radio, the big productions and trying to be the biggest band in the world and they've come out the other side with their intergrity as one of the most respected and loyaly followed bands still going today. Unfortunately, Mylo Xyloto shows that Coldplay has invested in the ever fickle pop audience. Although many fans may initially be seduced by the pop rush of this album, its substance that really sticks with fans and makes a great album. I certainly don't see this album still resonating and being talked about 20 years from now and given all the rerelease fanfare like Actung Baby is right now. Unless Coldplay someday decides to stand on their own, they will remain only in the shadows of greater bands and have at least one less fan in me.

The mixing engineer in charge of this mess should be fired. The songs seem decent, but they are so brutal to listen to, I cant even stand it. There is absolutely no dynamic range. It is basically from 0 to 100% volume in a 1 step on/off switch. People with ipods probably wont notice it, but others (like me) who have invested in good hifi equipment will find that this album is so badly done, there is no way to properly enjoy it. It sickens me that the recording industry these days is incapable of matching the recording quality of 25 years ago. Record EXECS: Overly loud music doesn't sell cds, it just blows out ear drums. I sure am glad I listened to a borrowed copy before I spent my hard earned money on this. Hopefully one day the band will actually listen to their own CDs and demand that you remix this....what a travesty.

Whoever produced Mylo Xyloto should stop producing and change jobs. All instruments are to the max, there is no harmony, no rhyme or reason. Couple of Coldplay's strengths lie in vocals and the piano, but they are almost nowhere to be heard in all the noise. This album sounds like an orchestra warming up for the concert.

I thought I'm getting a deal at $5, but this has been a waste of money. This album is Coldplay's 'St Anger' ...

So it didn't take a genius to predict what was coming. The release of "Paradise" signaled a major shift for Coldplay--with its deep baselines, contagious rhythm, and superficial subject matter masquerading as a much deeper tale. It soon became painfully clear that they were prepping for a complete crossover into commercial pop, and almost certainly burning bridges along the way. These elements persist in "Every Tear Drop Is a Waterfall" and "Hurts Like Heaven"--the latter of which is made up of equal parts generic British rock and what could conceivably be a Cure cover band's material. It's not a complete betrayal, however, as Major Minus has some gritty edge and unrefined energy.

Despite this huge deviation, the tunes aren't a total loss. Although the more pretentious members of their fan base will be shouting, "Sell Out," after the first note, it is unfair not to give Coldplay a chance to at least try and plead their case. In the end, it's very likely that the most vocal naysayers will be blasting many of these tracks in the private seclusion of their vehicles, while, at the same time, new--predominantly young--audiences will be proclaiming that they have "discovered" Coldplay. Unfortunately, the parallel ends here.

Coldplay is synonymous with moodiness, passion, and expressions of disillusionment that materialize in the form of Chris Martin's achingly heartfelt and nuanced delivery. With Mylo, however, upbeat tracks feel somewhat cheap and out of place, and the ballads sound more like the fluffy, frivolous stuff from which lullabies are woven. They are saccharine sweet and simply unable to harness the goosebump-inducing power possessed by such predecessors as "Scientist" and "Fix You." Their calculated and uninspired nature suggests that Martin and his cronies were trying to pass these off as authentic in a desperate attempt to assuage the wounded emotions of their long-time faithfuls. Although they provide a welcome reprieve from the overall commercialism of the album, they are likely to be quickly forgotten.

The most jaw-dropping moment comes about three-quarters through the album, when a completely incongruent R&B track begins. At this point, most listeners will begin inspecting their decks to assure that they haven't accidentally switched modes. During this period of fumbling and muttering, it'll happen--Rhianna's voice will begin belting through the speakers with talk of princesses and kings as Martin just plays right along with the absurd charade. For those who were up in arms over his previous collaboration with Kanye West, this might just be enough to induce wistful reminiscences of "Homecoming" because--love him or hate him--at least Kanye has a resume that provides supporting evidence of his creative aptitude.

So, what's the final verdict? A few highly accessible and likeable songs provide some cheap thrills. However, these small perks are quickly overwhelmed by contrived ballads, insipid pop, and ill-fitting themes--namely in the ridiculous duet. As Coldplay continues in this bold and progressive move away from their roots, they may lose more fans than they gain. In that case, it might be best for them if audiences wait this one out. In the meantime, it would be more advisable to take this opportunity to reflect upon the brilliance of Parachutes, X&Y, and A Rush of Blood to the Head--especially since that's where the true spirit of Coldplay resides.

This CD is one of the most distorted & compressed CD's ever made. It's just a big fuzzy mess. It's impossible to appreciate the music when the sound is so annoying. They have engaged the most successful mastering engineers in the world and if they didn't ruin this thing at the mastering stage, then the mixes came in pre-ruined.

I'm gonna guess the mixes were a mess out of the studio or the garage or the bedroom they mixed them in and then they had the mastering engineers just step on it one more time, real hard to finish off any life that the music might have had. The sound-stage is one big fuzzy Mexican radio station. It is SO compressed that as it gets louder it actually gets softer, you can hear the compressor pumping and trying to recover from it being over driven. Something in the chain of electronics is also distorted along the way. Too bad with all the technology we have today that a record from 1965 will sound SO much better both acoustically and musically. These guys have sold out big time. Too bad. Maybe they will wake up and redo the record and put our Version II: The listenable version.