Everyday Life is the creative chaos Coldplay needed

Coldplay is an enigma. There is probably no band that can get popularity and critical praise on the level Coldplay did, yet be the punchline to every joke made by a self-righteous indie hipster. Their music is beloved, yet mocked more than almost every other band still around today. 

Coldplay is not quite the evil every person with a Neutral Milk Hotel edit as their profile picture says they are, but they have shown some massive flaws in recent years. 

Coldplay started as a sparse indie rock band who knew the importance of subtlety. Parachutes, A Rush Of Blood to the Head, X & Y, and Viva La Vida are debatably classics. Suddenly, they made a move from mature indie pop to generic Imagine Dragons-esque faux anthems.

Mylo Xyloto is an ok album at best, with most of its songs attempting to remake the grandeur of Viva La Vida. Ghost Stories is easily the best post-Viva album, but with that being said, the album feels unfinished and inconsistent.

 The album that has broadcasted the worst side of the British pop icons was their 2015 effort A Head Full Of Dreams, an album that under the never ending layers of overproduction and the overuse of features, similar to Humanz by Gorillaz, felt empty and soulless. Coldplay were just another safe, bland arena rock group. Then came Everyday Life.

I am comfortable claiming Everyday Life is the most chaotic, unorganised and brave Coldplay have ever sounded. Coldplay awoke from their slumber of mediocrity with a sloppy, inconsistent, yet powerful roar as displayed by this ambitious double album showcasing a wide array of worldly sounds reminiscent of Revolver by the Beatles.

Some of the mediocrity of their past work leaks through on the lead single “Orphans,” which may have a good message, but is ultimately overshadowed by the forgettable production. Also a failed track is gospel song “BrokEn,” which just helps reassure what Kanye accidentally showed in Jesus Is King that maybe gospel is dead. 

Luckily this album doesn’t linger on these failed detours for too long. “Champion Of The World” is just as if “Orphans” decided to be a memorable track. “Church” and “Trouble In Town” both have some shoegaze influences that really add to the complexity of the record in a good way. Most of all, “Arabesque” is the crown jewel of this record, being a messy, emotional and catchy track that really encapsulates the true genius behind the album. This track is also the first Coldplay song to gain the explicit warning, showing that Coldplay were tired of holding back.

Coldplay have crafted their most uneven, unfocused record, which helps make it their most genuine and real. The political tone, the creativity behind the instrumentation and the unfiltered quality of this album makes up for its shortfalls and awkward moments. This record feels like a decent to strong seven out of ten.