Guitar Hero: Metallica Slated For 2009

The game has been hinted at for months, including several not-so-subtle hints from Metallica drummer Lars Ulrich. But the above teaser video was revealed in Guitar Hero World Tour and has now made its way as an unofficial announcement. The game has been discussed in Activision board meetings and such, but no official press release or statement has been made regarding the game's specific release date or platforms.

Metallica has improved their reputation with their album, Death Magnetic as well as trying to embrace the web community after the fallout from the Napster incident. Some fans still refuse to be swayed, citing the band's greed overpowering the love and passion for the music and its fans. Metallica has since divorced itself from Harmonix and Rock Band, going exclusive with Activision's Guitar Hero franchise. The reviews for Guitar Hero World Tour show the game is a little rough around the edges, but it still provides that full-band fun. If this new game is anything like World Tour, it should be a blast. The argument of DLC vs. single band titles can be disputed, but Guitar Hero: Metallica should be big.

I still think Activision has a long way to go to catch up with Harmonix in terms of content, note charts, and overall presentation. I have yet to play GHWT, but many critics cite Rock Band as having a better grasp of the genre despite both being great games. Harmonix is also partnering with AC/DC and Wal-Mart to put out an exclusive band game of its own, entitled AC/DC Live: Rock Band Track Pack. With Konami's Rock Revolution panned as a failure, the competition for plastic instrument supremacy continues on.

Read more...

Projekt Revolution Tour, Part Two - Linkin Park

After attending my first Projekt Revolution tour last year, the Linkin Park concert definitely exceeded my expectations. Coming not long after the release of their most recent record, Minutes to Midnight, it was one of the earlier opportunities to hear many of the new songs live as well as enjoy a lot of the old ones. With this year's tour wrapping up their M2M touring cycle, their final single, "Leave Out All The Rest", and one of the last dates on the schedule, they certainly went out with a bang. While there really wasn't much in new material, the entire concert was non-stop energy with very few breaks. There were a few new intros to classic songs, a couple of remixes, changed-up setlist, and a surprise or two that kept things fresh and interesting. The entire band puts so much of themselves in the performance for the fans, it never dragged and it was actually surprising when the concert ended. Add to that their second consecutive year offering a digital download of the show, and that makes for a truly memorable experience. Picking up where I left off in Part One, Linkin Park was, of course, the highlight of the experience.


Their set started out big with a visually impressive introduction by the three-man Street Drum Corps that included an amazing percussion cadence, lighting work, and an industrial look and sound that precluded the surprising opener, "One Step Closer". Usually used as the closer, the song really energized the crowd and the set from the get-go. Other favorites like "Lying From You" was remixed a little bit and "Somewhere I Belong" kept the energy flowing. While PR'07 opened up with an exciting intro to "No More Sorrow", it was still great to hear it again. The guys didn't have much to say, instead leaving the music to do the talking for them. However, Mike did briefly mention wanting to go out (of the tour) the right way before heading into "Papercut" which just caused even more crowd reaction. As the first track off of their debut album, Hybrid Theory, it gives a nice first impression of the band and is always fun to hear live. Points of Authority also had a surprising remix/intro with Mike Shinoda's hip hop side project, Fort Minor starting things off with a verse from "In Stereo". They even went into this nice rock freestyle that changed things up a little bit. They didn't stray too far from the rock vibe, but it was a change of pace.

Mike Shinoda's musical talents include piano, guitar, rapping, and singing.

They went into "Wake" with an exciting new intro, which just built up more excitement for "Given Up". Although "From The Inside" may not be one of their bigger songs, it's one of those concert favorites that's always really great to hear live. They slowed things down a bit in their next section of songs, but changed it up from their set. After going into their current single, "Leave Out All The Rest" with Mike on keyboard, they went into another popular hit, "Numb". But perhaps my favorite song in the whole concert was "The Little Things Give You Away". It's the last song on Minutes to Midnight and has so many amazing little details and an ethereal atmosphere that I've rarely heard captured as well as this performance. With Mike starting out with a piano intro, it all just gelled perfectly. Chester's vocal work was spot-on and Rob's drum solo built up to Brad's guitar solo. In the studio recording, Mike layers his voice to create a three part harmony with Chester to finish the song. Bassist Phoenix normally joins in to recreate this, but it has never sounded so amazing until now. "Breaking The Habit" was moved around, but ended instead with Chester singing the chorus a capella. "Shadow of the Day" is another great slower tempo song from M2M that closed out their mini-section.

Mike Shinoda (left, rhythm guitar) and Phoenix (bass) playing together.

Mike once again changed things up a bit by adding a verse from "Hands Held High" to the intro to "Crawling". This was one of the first songs I heard from the band, so it's another song that's great to hear live. It was made even better when Chris Cornell of Soundgarden and Audioslave returned the favor from earlier in the show and came out to sing with Chester. They officially ended their set with "In the End", but came out for an encore with a new intro to "What I've Done". Another live favorite, "Faint" closed out the encore, and a handful of people actually started to leave. But then another drum set was set up at the front of the stage where Rob Bourdon proceeded with an amazing drum solo. That led into a great finish with "Bleed It Out", which really fit with the overall tone and energy. It was made even more exciting when Street Drum Corps came out again to join the band with marching band percussion instruments in tow. While they had their own percussion break, Rob joined the group to close out the song in this epic drum finish that was pure adrenaline. It ended on a great note that had the sold-out crowd cheering.


It may not have been packed with new material or anything revolutionary, but it was a concert for the fans that never felt old or stale. The new changes and additions were fun and all of the big songs were played. I was hoping for a couple of down tempo tracks like "My December" or "In Between", but Linkin Park played non-stop and kept the crowd excited and the energy coming. The elevated stages, varied instrument positioning, and the amazing light work all added to a great experience that felt unique from the previous year. The entire Projekt Revolution tour is really solidifying its position among the other great music festivals and offers a nice injection of alternative rock.

Read more...

Projekt Revolution Tour, Part One - Opening Acts

Many artists have started their own music festivals to showcase favorite bands, particular genres, or sometimes just a certain atmosphere or feeling that other tours don't necessarily exude. Projekt Revolution is no different and was first started up by Linkin Park in 2002. Originally intended to mash up different genres similar to the band's diverse musical make up, it has since become a more rock-oriented show after returning last year from a brief hiatus. Projekt Revolution 2007 was my first, and it nicely showcased smaller artists on its second Revolution Stage while showing the bigger names on the Main Stage. Featuring artists like Mindless Self Indulgence, HIM, and My Chemical Romance, it was jam-packed with star power and great music. The tour also "went green", donating portions of their ticket sales to their Music For Relief charity and using bio-diesel in their tour buses to reduce emissions. With Linkin Park's most recent album, Minutes to Midnight just recently released, their concert felt new and exciting. With this year's festival, they took everything a step further with their charities, the music, and the excitement. Headlined by Linkin Park and Chris Cornell of Soundgarden and Audioslave, it definitely had a distinctly different feel. While LP was the main attraction, the other bands also put on a really strong showing.



Projekt Revolution 2008 was the first to tour outside North America and featured exclusive bands like The Used, N.E.R.D., and Jay-Z. The US tour bands stayed closer to rock than hip hop, but it was still a great show. I unfortunately missed the Revolution Stage in its entirety, so I didn't catch Atreyu, 10 Years, Hawthorne Heights, or Armor for Sleep. I did see most of the Main Stage, but missed the first performance of Street Drum Corps as people were coming in. Things really started off with ASHES dIVIDE, which features frontman Bily Howerdel of the Tool offshoot, A Perfect Circle. I was mostly unfamiliar with the new band, but they are described as "at times very atmospheric and moody, and at other times very heavy riff-driven with tribal-like drums." From what I saw, that statement actually holds true. They could do a slower and slightly mellow song and it wouldn't sound out of place with a bigger, heavier song. One of the tunes that fits perfectly is their new single, "The Prey". It features some catchy melodies with some fun riffs. Their first single, "The Stone" shows how it can be a little heavy and atmospheric at the same time. "Forever Can Be" is also a good example of something a little lighter but full of emotion. As their first tour, ASHES dIVIDE made a nice impression. They had problems maintaining energy and crowd reaction, but that was more likely attributed to their early spot on the stage, smaller stature, and inclusion of mellower songs in their set rather than an all fast-paced, up-tempo affair. They recently released their debut album, Keep Telling Myself It's Alright and are definitely worth looking into.


Busta Rhymes was supposed to appear on the Main Stage, but he left the tour early due to "complicated business matters". I was disappointed to miss his performance but wasn't really a huge fan. I was interested in how well The Bravery would do, and they didn't disappoint. I'm mostly a casual fan, but they had this stage presence that commanded your attention. A nice variety of songs were played from their two albums, The Bravery and The Sun and the Moon. One thing that stood out to me versus their studio recordings is their great bass-heavy sound. It made everything sound bigger and better, even though their music isn't exactly my favorite. They opened with "Swollen Summer", a nice energy-packed song that continued the pace throughout. Their most recent single, "Believe" has seen some decent radio airplay, but lead singer Sam Endicott showed his strong personality when he messed up the lyrics during their performance and was joking that his lyrics "were like jazz." He also pointed how well-read the crowd was when he dedicated "Time Won't Let Me Go" to the audience and the characters in the novel/film adaptation of The Outsiders. Songs like their debut single, "Honest Mistake" still had that great 80s-like New Order vibe and "Every Word is a Knife in my Ear" was just pure fun. They may not have been my favorite, but this NYC-based group gave a lot of energy and personality that made for a really good set.

Chris Cornell and Chester Bennington of Linkin Park teamed up on the song, "Hunger Strike".

Most people probably know Chris Cornell best from his days with Soundgarden and the recent supergroup, Audioslave, but he's just recently went solo and put on a great performance that showcased his chameleon-like ability and a setlist that had songs both new and old from his former bands and off his upcoming solo album, Scream. He really got the crowd excited when they played a pre-recorded strings arrangement of "Black Hole Sun" before his show started with "Cochise". He masterfully controlled the crowd, with virtually everyone on their feet for his set. A nice addition was during "Hunger Strike" when Chester came onto the stage to help sing the part normally done by Eddie Vedder. The new material also sounded really great, as "Watch Out" had a nice groove and a little R&B feel to it. Other hits such as "Like A Stone" was redone as a solo acoustic piece and "Be Yourself" had a nice drum build up and largeness to it. He even dedicated "Show Me How to Live" to his former bandmates in Audioslave. "Scream" is another new track that had this melodic beat very different from his previous work. As the name implies, it really displayed his command of the crowd. And of course, he finished it off with perhaps his most popular song, "Black Hole Sun". It still sounds fantastic years later, not to mention the amazing guitar solo. His show was like a marathon of energy and hits with new material stuck in-between. With Chris Cornell constantly changing form in each of his projects, I like where he's heading now.

While I wasn't as familiar with the bands in this year's tour as I was previously, they still put on an energetic show. I'm still disappointed to have missed some great acts, but I liked what I saw. With the tour coming to a close, they put on a great performance that came to a climax with Chris Cornell. Look for my review on Linkin Park's show coming soon.

UPDATE: Check out Part Two and my review of Linkin Park's performance now.

Read more...

Kenna's Masterful Genre Mash Up

Kenna is a unique artist because his music defies labels and typical music stereotypes or requirements. A blend of hip hop beats, synth, electronica, and alternative rock, his two albums, New Sacred Cow and Make Sure They See My Face have gained him a devout following. He has had to deal with numerous delays, inner politics, and record label problems throughout his career, as well as trying to find a place in the mainstream music scene and with radio airplay. He has gained an underground image and respect from others in the industry with his catchy music and the help of producers and close friends, Pharrell Williams and Chad Hugo of The Neptunes and N.E.R.D. Kenna's smooth vocal work is unlike any I've heard recently and it just fits. His music spans the spectrum that feels natural rather than lost or confused.


Kenna Zemedkun was born in Ethiopia but soon moved to the US not long after. His image and perception of music was largely changed by U2's Joshua Tree, resulting in him learning to play the piano, study classic singers like Stevie Wonder and Marvin Gaye, and listening to bands like Duran Duran and The Cure. He didn't initially think of stepping into the music scene until college, where he joined with high-school friend Chad Hugo to work on demo tapes and his debut. His influences can be heard throughout his music, creating a unique blend of genres and styles with that Neptunes touch. He was initially signed to Interscope under Fred Durst's subsidiary, Flawless. But after having problems securing backing from Interscope as well as questions about promotion and marketing, he was eventually released. However, he soon found a new home with Columbia where he finally released his 2003 debut album, New Sacred Cow.

Before the album's release, the first single "Hellbent" was released much earlier and caught many people's attention. A melancholy tune that featured Kenna's emotional vocals along peaceful synth work and amazing bass beats, the combination with the music video is what caught my attention. A claymation animated video featuring a creature trapped in a gray, drab world, Kenna already seemed different. But after all of the delays and almost dropping off my radar, I discovered New Sacred Cow. The album really does span a variety of styles and moods, not only restricted to the moodier and mellow sound of "Hellbent". Follow-up single "Sunday After You" is a little more up-tempo with some good beats and guitar work and sampling. Telling about a failing relationship, he discusses how perception is altered and how quickly things change. "Red Man" is a fun song that has nice guitar work backed behind some solid drum beats. But New Sacred Cow isn't all rock and beat work. "Yeneh Ababa (Rose)" is a nice ballad set with mostly just a piano and a little horn work. A very bittersweet song comparing life as a rose with thorns, fallen petals, and the one left behind, he can take things in so many different directions. The title track is an upbeat song that discusses religion in a very interesting light. His debut effort showed the many colors he wears and how well they all fit together.

The 2007 release of Make Sure They See My Face wasn't without its own share of delays and problems. After low sales of New Sacred Cow had him searching for a new record label, he ended up back with Interscope. While his first album was only co-produced by Chad Hugo, Pharrell Williams joins the production team on a couple tracks. Overall, the album has a much more upbeat, polished, and feel-good vibe to it rather than the more mellow atmosphere of the first record. Inspired by his attempted climb to Mount Kilimanjaro, the album has a more guided direction and fits better in the current music space. This doesn't take away from the variety and style at all, and kind of shows off the different sides of Kenna. "Say Goodbye to Love" brings an old-school feeling, exhibiting Kenna's vocal range. "Baptized in Blacklight" has a largeness to it, with solid drums, a bass line, and some interesting synth lines making its way in. Justin Timberlake makes his way into one of the tracks with some background vocals in "Phantom Always". The song has a nice groove and harkens back to some of the more mellow work of New Sacred Cow with the new spin of Make Sure They See My Face. The song talks about a guardian, or phantom that is always watching over him. While he seemed to be searching for his place in the first record, the second feels like he's starting to find that spot.

Kenna has so much talent that's only better with the production work of The Neptunes. He's also shared his skill with other musicians, working with Linkin Park's Mike Shinoda in his hip hop project, Fort Minor and producing tracks for Ashlee Simpson. New Sacred Cow and Make Sure They See My Face show a nice progression despite long delays and other problems he has had to deal with. While his second album is a little more modern and relevant by today's standards, his first album is one of my favorites. Regardless, check out his music and see what he has to offer.

Read more...

N.E.R.D. Comes Back With Energetic Seeing Sounds

After the group took a hiatus in 2005 to focus on other projects, Neptunes production duo Chad Hugo and Pharrell Williams and close friend Shay Hayley reunite for their third album, Seeing Sounds with a purpose. The Neptunes have produced many big-name artists both as a duo and individually, with Pharrell staying more in the forefront with various record guest spots and even producing a solo record independent of the Neptunes and N.E.R.D. Chad Hugo has preferred to stay behind the scenes while Shay Hayley avoids the spotlight. N.E.R.D. has always been known for a unique sound different from their other acts, often making it difficult to name specific genres. While their backbone is in hip-hop, their mix of alternative rock, funk, and other styles creates a fusion of sound that refuses to squeeze into that mandated mainstream sound. Pharrell has stated, “We didn't care about genres; we're not doing this for the money,” making an album for their fans and their experimental movement.

From left to right: Shay Hayley, Chad Hugo, and Pharrell Williams.

Their previous albums, In Search Of… and Fly or Die definitely threw fans for a loop, as it varied greatly from the well-known production of the Neptunes and Pharrell’s solo hip-hop music. In Search Of… originally released in Europe in 2001 and featured a digital sound more akin to the Neptunes. To fit into a more specific category for the US release as well as to differentiate the group from their Neptunes work, they re-recorded the album with live instruments for a more rock sound. They recruited Spymob to help in the recording since they didn’t have enough to time to learn certain instruments adequately. 2004’s Fly or Die showed the group playing the actual instruments and in live performances. More of a pure rock album, it shows off N.E.R.D.’s unique flavor and personality. Seeing Sounds follows this trend to make this nice fusion of rock and hip-hop. N.E.R.D. (standing for No-one Ever Really Dies) embodies that pure energy they bring to their music and live performances. This album just takes that philosophy to the next level, which Pharrell explains both their approach and album cover.

"If you really analyze that," Pharrell added, "the most inspiration is probably deep inside a synesthesiac. So for us, 'seeing sounds' is what we relate to the most. We figured we'd make an album out of it. Energy and emotion was the criteria [while recording], but we made the music anticipating the [live] show. That was the most important thing... [The song] 'Spaz' is [an] old school, hip-hop feeling with some drum and bass. It becomes a big, tall monster. It's almost like this big gorilla looking down at you. If he smacks you, he kills you. His fingers are the size of your body. That's kinda what we're doing. We're facing this big monster of, of what we know is out there, of what we see, that big monster of energy."

Seeing Sounds really does feel like it abandons the conformities and considerations to ‘sell’ and get mainstream airplay, with an album that just feels good. Things start off with Pharrell reminiscing his childhood in “Time for Some Action”, setting the tone and atmosphere for what’s to come. The first half of the album features a more hip-hop inspired sound, with singles “Everyone Nose (All the Girls Standing in the Line for the Bathroom)" and “Spaz” exhibiting the more beat-centric sound. However, the second half of the album is where the group really shines. Showing off more experimental sounds and genre-bending tracks, it definitely feels stronger. “Happy” features a traditional rock groove with a nice hip-hop vibe that only they could make-work. “Love Bomb” is a roller coaster of sound, with Pharrell’s smooth vocals riding across the highs and lows. “Sooner or Later” follows a similar trend, yet is unique on its own. Starting off with piano and simple hip-hop beat, the song soars in the chorus with its big sounds, mellow feel, and amazing guitar solo. Pharrell gets the majority of the writing credits this time around, but everyone contributes. You can feel each song’s multiple layers, summing together to form that fusion of energy.

N.E.R.D. defines pure energy. It’s an artistic album, one that fits whatever vibe you’re feeling. It captures the spirit of their first album, In Search Of..., of rebellion and feeling. However, the lack of true mainstream singles and other contributing factors will most likely limit the appeal of the record. Not every song is a hit, as some feel like they're trying too hard. Seeing Sounds is not perfect and it’s not for everybody, but it’s something different.

Read more...

Weezer Transforms in Self-Titled Red Album

From left to right: Brian Bell (rhythm guitar), Patrick Wilson (drums), Rivers Cuomo (lead guitar, vocals), and Scott Shriner (bass).

Cover art can often reveal a lot about the music itself or become a cheap marketing tool to get others to buy the album. Weezer's self-titled Red Album uses the former that brings the group to a whole new place, musically. Depicting all four members wearing fun, goofy outfits against a red backdrop, that's exactly what the album feels like. Featuring instrument switches and multiple band members taking over lead vocals, the Red Album follows the trend of their other self-titled efforts in redefining the band and their music.

It may or may not have been intentional, but the Blue Album, Green Album, and Red Album have each been released seven years apart. It provides nice symmetry for a new Weezer. They created a list of things they wanted to accomplish with this record, and one of them was to have everyone have a hand in writing lyrics and music. The result is a well-rounded effort that exudes the personality and musicality of Weezer more than ever before. You get to hear the guitar efforts of drummer Pat Wilson, the drum efforts of front man Rivers Cuomo, and the surprisingly good vocal ability of bassist Scott Shriner and guitarist Brian Bell. While the previous lyrical style and content featured Rivers' sad and more somber side, the Red Album takes the opposite approach. With the place all four members are in their life, it sounds like they're having a lot more fun and happy where they are. It's not completely fun and carefree, but the album as a whole feels complete in its tone, atmosphere, and content. While the mix-up works better at times than others, it's all a very strong effort.

"Pork and Beans" feature many popular YouTube stars and Internet memes.

Their first single, "Pork and Beans" perfectly sets the tone with a nice guitar hook, amusing lyrics, and tons of personality. The music video shows how in tune and amazing Weezer is. Showing off almost every popular Internet meme and YouTube video, you get to see everything from the Soulja Boy dance to Peanut Butter Jelly Time and Leave Britney Alone. The first track, "Troublemaker" feels reminiscent of the Blue Album's "My Name Is Jonas" as it is very straight-forward and lays everything on the table. "The Greatest Man That Ever Lived" was an inadvertant spin on a Shaker Hymn that has this epic feel. It truly is a roller coaster of musical styles. "Cold Dark World" features Scott Shriner on lead vocals and shows off an oddly appropriate combination of happy, unlifting lyrics with a much darker atmosphere. I always felt that Weezer had very strong closing tracks and "The Angel and the One" follows suit. Originally starting out as a standard pop song, it slowly evolved into this amazing, self-described "spiritual reverie." As some of the members' favorite track, it's one of the best on the album.

The deluxe edition features expanded liner notes and four bonus tracks, and I think all four bring a somber attitude that fits very well in the overall picture. "Miss Sweeney" is a really unique track that features Rivers' rapping vocals in a story about feelings for his office secretary. "Pig" is a fun, bittersweet song about the life of a pig while "The Spider" takes a similar, but very different tone. With the acoustic guitar and atmospheric vibe, the contemplative lyrics discuss questions about life and compares them to the life of a spider. But the final track, "King" has to be my favorite track that doesn't feature Rivers as lead. Scott Shriner takes over vocals once again after he strongly voted for the song to appear on the album. It took three weeks to record and perfect the song, and their hard work shows through clearly. His unique vocal style contrasts nicely to Rivers yet still feels like Weezer.

The Red Album has brought about mixed reactions, as some protest to change in the status quo. Every member is spotlighted well, and you can see the shine. The deluxe edition isn't completely necessary, but the bonus tracks add a nice conclusion to the album. This new Weezer is inspiring and should definitely be checked out.

Read more...

Coldplay Leads The Revolution

It looks like this summer is the season of change. Many established bands have decided to take their music into new directions, and Coldplay is no different. Their first three albums, which they have called a ‘trilogy’, featured a more mellow and slow tempo sound, with vocalist Chris Martin’s falsetto voice adding up to comparisons with groups like Radiohead and U2. Their latest album, Viva la Vida or Death and All His Friends has a fresh new attitude and atmosphere, with Martin using more of his lower register and the whole group experimenting with different sounds. Coldplay was also influenced by Hispanic sounds and culture, which can be felt in its overall tone. The result is a very polished album that gives a sense of grandeur and emotional progression.

Coming into Viva la Vida, they seemed to have something to prove. While their earlier work was met with acclaim, their previous album, X&Y was met with mixed reviews. Accused of stagnation and lacking the passion and innovation of previous records, they went to work with musician and producer Brian Eno. The fruit of their labor is a very visual album, which is evident in the album’s title and cover. While the name is Spanish for Long Live Life, the artwork is taken from French painter Eugène Delacroix’s piece, ‘Liberty Leading the People’. The painting commemorates the July Revolution, which saw the overthrow of King Charles X. This feeling permeates throughout the entire album, which can be heard in single and title track, “Viva La Vida”. The constant drum beat, soaring strings, and atmospheric vocals brings you into the story and a time of war and revolution. The first single from the album, “Violet Hill” immediately sets the tone for the record and shows the remarkable change from previous records. Viva la Vida isn’t just an edgier sound, but one that gives a complete expressive storyline without any filler.

From left to right: Jonny Buckland (guitar), Chris Martin (lead vocals, piano), Guy Berryman (bass), and Will Champion (drums).

From the first moments of opening instrumental track “Life In Technicolor”, you can almost see the prologue to its visual story. You can hear a sense of duality in many of the tracks, most obvious in “Lovers In Japan / Reign of Love”. The bright combination of piano and guitar hooks of the first half nicely contrasts with the piano melodies of the second. “Yes” is another great standout track that exhibits Martin’s low vocal register. The dark first half shows off a nice violin section full of character and an overall solid groove. The second half features a welcoming and lighter guitar line and ambient, falsetto vocals from Martin that just fit together. The second title track, “Death And All His Friends” is an appropriate conclusion to the album, wrapping up the general sentiments into a rollercoaster ride of moods. Beginning with a peaceful piano/vocal combination, it gradually escalates into a catchy groove that sums up the pitfalls of war and its effects. And to bring things full circle, a mini-reprisal of “Life In Technicolor” decrescendos into a feeling of calmness and closure. From beginning to end, you never feel like you’re missing a piece of the story.

Coldplay has transcended the sound they have been pigeonholed in and just takes everything to the next level. No longer limited to a couple of emotion, Viva la Vida or Death and All His Friends contains an entire spectrum wrapped in a story of revolution. With ten tracks, it goes on long enough to tell its tale without feeling too short. Coldplay weaves a focused and majestic piece of work that brings about images of historical French cities and cries of uprising.

Read more...