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A lot has changed since Viva La Vida or Death and all His Friends came out. We elected a black man as our president (pretty cool), the Packers stink again, and that’s about it. Actually not too much has happened. This EP was released with some obvious holdovers as well as some reworking of tunes. This album also features a revolution era painting with thick uncompromising brush strokes. Fantastic!

            It starts out with basically a 12” (circa 1980s lingo) of Life In Technicolor. Now if you are familiar with the first Life In Technicolor, you know that it should replace Sirius (by the Alan Parsons Project) as the intro song for everything. Imagine it while, uh, “now introducing, your 1996 NBA Champion Chicago Bulls” or “and now for our Deputy Director of the Domestic Policy Council, Heather A. Higginbottom” with that song proudly playing in the background. We wouldn’t be in a recession. We would be in a success-sion. “Life In Technicolor II” is better when it’s “Life In Technicolor I” but I am happy they decided to at least try to make this a full song.

“Postcards from Far Away” is just a piano melody. Clocking in at :48 it is their second shortest tune (“Parachutes” is :46, right?), but sometimes melodies like these deserve only to be this long. Let’s just say it doesn’t waste any time, but doesn’t merit any more.

“Glass of Water” makes no real impression till the last ten seconds of the song or so when an oddly but beautiful piano chord progression bounces and Chris Martin explains that they are drinking glasses of water.

“Rainy Day” feels like it was written right after “Viva la Vida” with all the orchestral huffs and whatnot. It’s nothing special.

“Prospekt’s March/Poppyfields” is a peculiar number. It belongs on X&Y and is about as dramatic as they get. It’s smooth listening, and I have to say this song belongs on some album. I’ll put it on my debut album if they don’t mind. “Prospekt’s March” is fabulous; “Poppyfields” is not a song but just noises, but not bad ones.

“Lost+” rocks with extra umph that only a man named Jay-Z can bring. Unfortunately, we settle for someone named Shawn Corey Carter instead*.

“Lovers In Japan (Osaka Sun Mix) is an odd one because it really isn’t a mix. It’s more of a correction of the part between the chorus and the next verse. On the album, it just kind of sits there and feels unkempt and over-extended. Here, we are given neat “woahs” to clean up the mess. The song still has some pacing problems, but it does sound more focused and sharper.

“Now My Feet Won’t Touch the Ground” is “ ’Til Kingdom Come”. It is! I swear! But at only 2:30 I can excuse it.

            The album is an EP that functions as we most EPs are supposed too. They contain songs that did not make the album for a reason. And I can see this is the case for most of the tunes. Regardless, Coldplay puts out another generally enjoyable release for material hungry fans, as well as casual listeners.

Album Grade: B (low B but not B-)

Album in a sentence: This EP is mixed with some non-anthem friendly (Coldplay’s stronghold) and dull under-produced tracks while featuring some downright gems.

Want it?

 

            *A Joke

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