25 years have passed since British rock band, Coldplay, entered the music world.
On October 15, 2021, they released their ninth studio album, Music of the Spheres. The 12 tracks include three interludes and collaborations with the likes of Selena Gomez, We Are King, and BTS. Throughout it all perpetuates a “universal” theme that reminds listeners of the humanity we all share.
The album begins with “⦵ (Music of the Spheres)”, an instrumental that perfectly introduces the space motif. Adorned with ambient synth, it builds suspense for the sounds to come.
Every interlude that follows serves as a disappointing filler better suited for a Star Wars movie. The typical music fan doesn’t enjoy two minutes of flat and warbling sound, or a clip of an extraterrestrial giving a speech in backwards English.
In fact, it seems that aliens have invaded the album: lead singer Chris Martin morphs into Chris Martian for half of “Biutyful.” Though several octaves higher, his voice doesn’t sound quite as ear-piercing as one might expect. Nonetheless, this daring experiment with sound fails in its attempt to distract from the true basic and motionless music.
“♡ (Human Heart)” experiments with a new sound for Coldplay too; almost a gospel-like acapella. It feels like a feeble, slow-to-progress echo of an already overused meaning: “My human heart, only got a human heart.”
Thankfully, other songs display more promise. The same Max Martin who co-produced The Weeknd’s “Blinding Lights” also produced “Higher Power.” This second track on the album hits instantly with an anthem-like beat. The energy lasts well into the belt-worthy outro.
The ballad on the album, “Let Somebody Go,” appears admittedly plain in its meaning (“it hurts like so to let somebody go”). Despite the beauty of the song and vocals of both Selena Gomez and lead singer Chris Martin, it still feels bare with only two verses.
By contrast, “People of the Pride,” features a guitar riff and rallying cries reminiscent of the “Viva La Vida” era it was written in. Coldplay clearly had intentions with the lyrics, with references to “people on the left” and “people on the right,” as well as accusations towards an oppressive tyrant. It isn’t the first time, with songs from Coldplay’s 2019 Everyday Life album also touching on more relevant societal topics. The subject of religion makes an appearance in “Church,” which sings of understanding someone else’s house of worship. “Guns” addresses the abuse of such weapons.
“My Universe” offers more hope with a satisfying blend of both Coldplay and Korean boy band BTS’s vocals (and even a smooth rap in the bridge). The ending, however, doesn’t match the song and fades out in a way that kills the energy it built up.
“Coloratura,” possibly the highest-praised song by critics on the album, extends for ten minutes. The track starts and ends with pure instrumental, and the verses are punctuated by an instrumental bridge halfway through. The effect is a song full of layers that doesn’t feel empty, even where vocals are absent. The music and piano speaks for itself, displaying Martin’s prowess as a pianist.
Overall, the album morphed into an intriguing mashup of pop music created for the charts, jumbled spiritual and political ideas, and notes of Coldplay’s more rock past. Without the occasional mood-stiflers that interrupt the flow, the album is worth listening to on repeat.
Older fans may feel disappointed that Coldplay doesn’t seem to be returning to the kind of music for which they became known. It’s possible that they already reached their peak height years ago.
