15 years ago, Coldplay made a grand entrance with their debut full-length Parachutes. Over time, these same four Englishmen have proven that they were not just another name in a fleeting Brit-rock scene, but rather a much more powerful force. As a result, they have become one of the most prominent and influential bands of the 2000s. Fast forward to today, and the quartet is back with what has been speculated to be their final album. It’s barely been a month since the announcement of its release, and yet A Head Full of Dreams is already on shelves everywhere.
A fun bassline fades in to open the record on its title track, which is nothing short of epic. The riff from “A Head Full of Dreams” is reminiscent of U2’s “Where The Streets Have No Name,” and the “choir” at the end of the song seals the deal in terms of staying power. Though not as dominant, “Birds” follows this up with another great bassline, a foot-tapping beat, and minimal guitarwork sprinkled over top of the song’s structure. “Hymn for the Weekend,” however, returns to the dominance of the title track. The tune with Beyoncé showcases fantastic harmonies, lush brass lines, and a killer backbeat. The album briefly changes pace for the slower, piano-driven “Everglow,” before picking up once again for the upbeat lead single. The groovy low-end in “Adventure of a Lifetime” gives it a disco feel, and it also complements the mystical elements from the intro and bridge rather nicely.
[youtube]https://www.youtube.com/watch?v=QtXby3twMmI[/youtube]An ethereal layering helps add to the “Fun” of the song featuring Swedish singer-songwriter Tove Lo, whose rich vocals pair extremely well with those of frontman Chris Martin, before “Kaleidoscope” initiates the second half of A Head Full of Dreams. This piano-driven narrative contains elements of the poem “The Guesthouse” and a powerful sampled ending in which President Obama can be heard singing “Amazing Grace,” making the interlude anything but ordinary. Its successor, the upbeat electronic rocker “Army of One,” is a solid tune despite not being among the album highlights. The hidden track which immediately follows its abrupt ending, “X Marks The Spot,” continues this electronic feel, before the stellar “Amazing Day” brings a simple yet effective approach to the table. The clattering ¾ beat even feels jazzy at times.
The other interlude on the record, “Colour Spectrum,” harkens back to both the opener and “Hymn for the Weekend,” the latter of which can be attributed to Beyoncé’s backing vocals making a brief return. Just as A Head Full of Dreams began, so it ends in an epic fashion, with “Up&Up.” The album closer is introduced with piano and a twangy guitar riff before the rest of the instrumentation kicks in. Here, a simplistic beat lays the perfect foundation for a soaring chorus, and a phenomenal bassline makes its own entrance in the second verse. The track peaks, however, with the “choir’s” return in the bridge and guest instrumentalist Noel Gallagher’s grandiose guitar solo that follows it. “Up&Up” fades out much like its counterpart faded in. Indeed, the Brits couldn’t have ended things better had they tried.
Although there are songs on the record not quite as note-worthy as others, A Head Full of Dreams starts and finishes with its best moments, in addition to boasting a few exceptional highlights along the way. The latest (and perhaps the last) from Coldplay is equal parts fun and powerful. Despite what some may say about it being “too generic” or “not enough rock,” the quartet’s seventh release sees their sound continuing to evolve, and that is a wonderful thing.
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