It’s actually refreshing, coming from a band that usually aims to take over the world with every new thing they put out. Still, I hold the band to a higher standard nowadays, as they’ve moved on to bigger and better things than their meek origins. And that album’s about as long time-wise as this one. I suppose you could say that short albums are no surprise for Coldplay given how they started off with Parachutes, which only really has nine songs due to its title track being more of an interlude.
#Ghost stories coldplay song list full
You’re gonna put this one out at full album price and then let the label charge us more for stuff that should have been on it in the first place? That’s a far cry from the Coldplay that had a remarkably satisfying collection of 10 tracks on Viva la Vida, and yet still showed enough creative drive to throw some hidden songs into the margins, which for me enhanced that album a great deal. When one of the cut songs is the freakin’ title track of the album, I get downright cynical. But when an artist goes and pulls the “concept album” gimmick, as if to say that this exact set of songs goes together as a fully-realized work and inserting anything else would ruin the unified feel of it, and then they go and tack bonus tracks onto the super-duper-fanboy-special-edition version of the album that are actually better than some of the album material, I get a bit suspicious. I should probably be grateful that they’ve learned to cut some dead weight from their track listings. Coldplay actually had the opposite problem on X&Y, still by far the most difficult of their albums for me to slog through in a single listen. Now I’m just gonna get this old chestnut out of the way up front, because I’ve had this argument before with folks who really liked Radiohead‘s The King of Limbs or G rizzly Bear‘s Shields, both albums with a fair amount of promising material that just didn’t have enough material to push my personal opinion of them from “Hmmm.” to “Wow!” I’m not saying that quantity equals quality. But now they’ve dropped such a startlingly brief new release on us called Ghost Stories, which I feel like I’ve become incredibly familiar with over the course of a mere two weeks, because the darn thing is so short and so single-minded in its lyrical content that it hasn’t taken a whole lot of effort to give each track my full attention. Viva la Vida or Death and All His Friends and Mylo Xyloto, thus far my favorite two records in the Coldplay discography, were more like that for me.
Sometimes you have to sleep on these things for a while to get a better sense of what they’re about. I chuckle at myself now for having the gumption to title my review of Coldplay‘s second album “A Rush of Fingers to the Keyboard” and act like it was some badge of honor to get a review out the door on pretty much the day it was released. I used to be all about covering any major new release that interested me within a week or so of it hitting the shelves, but as time went by, I realized I’d rather take my time and pay closer attention and know the details pretty well by the time I sat down to write about it. It’s been a while since I reviewed an album in the same month it came out. I like the more ambient take on a stripped-down sound, but this album could use a little more meat on its bones. In Brief: Modern day electronica-leaning Coldplay meets the “too meek and mellow to be bothered with a full-length album” Coldplay of olden times.
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