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Coldplay at Work on "Something Different" for Upcoming Album
Behind the scenes with Chris Martin and crew as they record their fourth

Rolling Stone’s Evan Serpick recently visited Coldplay in their northern London recording studio where they’re hammering away at their still-untitled fourth album, due in May. The band teamed up with legendary producer Brian Eno and pointedly tried to remove all outside influences this time around. “We felt like the first three albums were a trilogy, and we finished that,” says guitarist Johnny Buckland. “So we wanted to do something different.”

“Whether or not it’s good, we certainly started to use more colors,” says frontman Chris Martin. “It’s impossible to please everybody, and it took us a while to learn that.” The tracks Serpick heard were considerably rougher than songs on Coldplay’s past albums, and tackled darker lyrical themes, as well. For more from the band and an early look at nine songs that may appear on the record, click here.

Coldplay are currently holed up in a studio in northern London, trying to hammer out the details for their still-untitled fourth album, due out in May. On a white board, three band members have posted radically different proposed track listings for the album. Chris Martin has withheld his, hoping to lobby his colleagues a little while longer. "I heard a Bono quote once that said 'Bands shouldn't break up over money, they should break up over track listing,' " he says. "Nothing could be more pertinent at this point."

To record their fourth album, the band hired legendary producer Brian Eno and pointedly tried to remove all outside influences. "We felt like the first three albums were a trilogy, and we finished that," says guitarist Johnny Buckland. "So we wanted to do something different." The band let Rolling Stone hear the songs they're working on, and most are refreshingly, bracingly different from Coldplay hits like "Clocks" and "Speed of Sound."

Several tracks are considerably rougher around the edges, with distorted guitars and more prominent percussion. The lyrics are darker, dealing with recurring themes of death and loneliness. And on several songs, Martin extends his vocal palette considerably beyond the falsetto that has largely defined him, exhibiting a lower, sexier mode that feels more personal and real. "Whether or not it's good, we certainly started to use more colors," says Martin. "It's impossible to please everybody, and it took us a while to learn that. It's just the freedom to say, 'Everyone might not like this. We're into it at the moment, so let's just get it done.' "

The band explored in a variety of sonic directions, something they attribute to Eno's encouragement. "He's just not judgmental, it's very refreshing," says Martin. Buckland adds, "It wasn't so much that he brings like a sound or something to it. He brings lots of ideas about everything, even down to like how we structured our day." His suggestion? "Take lots of breaks."

Of course, the band is still hammering away at that track listing, but here's a guide to several of the songs likely to end up on the album:

"Violet Hill": One of the strongest of the new songs, the band is considering giving it away as a special promotion in coming weeks and then leaving it off the album. Opening with a jagged distorted guitar riff, the song announces a new template: The stalking, bluesy beat fits nicely with Martin's earthy vocals and plaintive lyrics: "If you love me, won't you let me know?"

"42": The fact that the band is considering this song as the album's first real single underlines how far they're willing to a stray from their formula: It's an elaborate three-part piece, with swirling pianos, strings and beat loops that build to an uptempo climax, with some seriously stoner lyrics: "Those who are dead are not dead/They're just living in my head."

"Yes": Here, Martin's vocals take center stage like never before: Sounding more aggressive and strong than ever, they sit on top of an irresistible North African string-and-tablas arrangement and ache more convincingly than all the lilting falsetto in the world: "If you'd only, if you'd only say 'Yes'/I'm just so tired of this loneliness." It's the band's freshest song since "Parachutes."

"Death and All His Friends": A straight-up rock tune with a riff that sounds ripped from the Doobie Brothers, piano, and, in the last section, flute.

"Cemetaries of London": Notice the thematic pattern emerging from the title and lyrics? This one, with an electro loop and hand claps, doesn't sound as glum as its title portends.

"Life in Technicolor": Acoustic-guitar driven and jangly, this is one of the few tracks that seems built from the Coldplay template of songs like "Don't Panic," only a bit more, well, panicked: "Baby it's a violent world," Martin sings.

"Chinese Sleep Chant": Opening with a jagged guitar riff, the song quickly settles into a propulsive dance-track loop with low-mixed, angelic vocals.

"Strawberry Swing": This is one of several potential album cuts with Afro-pop and high-life influences: Here, distortion-free finger-picked guitars which sound straight out of Mali mix with a heavy bassline and psychedelic synths. "My Mum comes from Zimbabwe, so I spent a lot of time there," says Martin. "I used to work in a studio where people played that."

"Reign of Love": A lovely layered composition of piano, bass and organ that backs fairytale lyrics.

　　Rolling Stone杂志的Evan Serpick最近在Coldplay位于伦敦北部的录音室拜访了他们，在那里他们正在精雕细琢这张还未命名的专辑，专辑预计五月份发行。乐队全体成员与传奇制作人Brian Eno一道，明确要排除当前所有外界的影响。乐队吉他手Johnny Buckland说道：“我们觉得前三张专辑是三部曲，已经结束了，所以我们想要做些不同的东西。”
　　乐队核心Chris Martin说：“不管好坏与否，我们确实开始采用更多音色了。不可能让每个人都觉得满意的，我们也是花了点时间才体会到这点的。”Serpick所听到的新专辑歌曲与Coldplay过去专辑的音乐相比更具粗糙感，同时配合了更加黑暗的歌词意境。以下文字详细展开乐队更多消息，同时提前揭露可能出现在专辑中的九首歌曲的细节。

　　Coldplay现在正躲在伦敦北部的某个录音室里，努力推敲着他们仍未命名的第四张专辑的具体细节，专辑预计于五月发行。留言板上，乐队的三名成员贴出了完全不同的建议的专辑歌曲列表。Chris Martin没有给出自己的列表，他希望花更多点的时间与同事交换意见，他说：“Bono（U2主唱）曾说过‘乐队不应为金钱而关系破裂，要破裂也是应该是为了专辑歌曲的选择而破裂。’没有比这更中肯的了。”
　　为了录制第四张专辑，乐队找来了传奇制作人Brian Eno，并明确要排除所有的外界影响。乐队吉他手Johnny Buckland说：“我们觉得前三张专辑像三部曲，已经结束了，所以我们想要做些不同的东西。”乐队还让Rolling Stone杂志听了他们正在加工的歌曲，大多数歌曲新鲜而又令人振奋，不同于以前Coldplay主打歌曲如“Clock”与“Speed of Sound”。
　　其中一些歌曲由于采用了失真吉他与强烈的打击乐器而显得更具粗糙感。歌词更加黑暗，反复出现了关于死亡与孤寂的主题。在一些歌曲中，主唱Martin延伸了他的音域，超越了原先标志性的假声唱法，表现出一种更加低沉、更加性感的歌唱模式，这种模式让人感到更加个人化、更加真实。Martin说：“不管好坏，我们确实开始使用更多音色了。不可能每个人都觉得满意的，我们也是花了点时间才体会到的。坦率地讲，‘可能不是每个人都喜欢这样。我们既然现在投身其中，就让我们完成吧。’”
　　乐队探索了众多音乐方向，他们将这归功于制作人Eno的鼓励。Martin说：“他并不倾向于做出判断，这让人觉得耳目一新。”Buckland补充道：“他带来并不全然是一种声音或什么，他给我们带来了许多想法，可以关于任何东西，甚至是如何安排我们每天的生活。他还建议我们多休息。”
　　当然，现在乐队还在钻研歌曲列表的安排，下面的指南描述了一些可能最终出现在专辑中的歌曲：

　　“Violet Hill”：最强新歌之一，乐队正考虑在之后几周发行这首歌曲作为一种特殊的宣传，之后这首歌曲将不会出现在专辑中。这首歌曲以粗糙的失真吉他Riff开始，宣告了一种新的形式：行进的布鲁斯乐拍子恰好配合了Martin质朴的歌声与悲伤的歌词：“If you love me, won't you let me know?”（如果你爱我，你不会让我知道吗？）
　　“42”：乐队正考虑将这首歌作为专辑第一支真正意义上的单曲，这一事实凸现了他们想要偏离原先音乐模式的偏离程度。这是一首精心制作的三段式歌曲，围绕着的是钢琴、弦乐以及反复的节拍，并发展到快速的高潮部分。歌曲包含了一些严肃冰冷的歌词：“Those who are dead are not dead/They're just living in my head”（那些死去的并没死/他们只是住进了我的脑袋。）
　　“Yes”：在这首歌中，Martin的歌声占据了以前从没有过的中心地位。他的声音听上去更加激进、更加猛烈，并建立在一种令人无法抗拒的北非弦乐与手鼓的乐曲编排之上，相比所有轻快的假声唱法能够更好地传达悲痛的情感：“If you'd only, if you'd only say 'Yes'/I'm just so tired of this loneliness”（如果你只是，如果你只是说‘是的，我是如此厌倦这样的孤寂。’）这是自《Parachutes》专辑以来乐队最新奇的歌曲。
　　“Death and All His Friends”：一首直截了当的摇滚曲子，有着听上去有点像从Doobie Brothers音乐中得来的Riff，还有钢琴以及最后一部分的长笛。
　　“Cemetaries of London”（伦敦墓地）：是否注意到歌曲主题是从标题和歌词中体现出来的？但这首拥有循环电子乐以及拍手声的歌曲，听上去并不像标题预示的那样阴郁。
　　“Life in Technicolor”：这首声乐吉他歌曲是新歌中少有的依照“Don't Panic”（勿要慌）这类Coldplay音乐模式打造的歌曲。只是稍微恐慌了点，Matin唱道：“Baby it's a violent world”（宝贝，这是暴力下的世界。）
　　“Chinese Sleep Chant”：以粗糙的吉他Riff开头，这首歌立刻进入推进的舞曲循环，混合着低声的如天使般的歌唱。
　　“Strawberry Swing”：可能的几首受非洲音乐及上流社会影响的专辑歌曲之一。在这首歌中，直接取自马里（非洲某国）音乐的不失真的指弹吉他音与沉重的Bassline以及迷幻电子合成乐混合。“我母亲来自津巴布韦，所以我在那儿呆了不少时间，”Martin说，“我曾在一个录音室里工作过，那里的人演奏过那种音乐。”
　　“Reign of Love”：一首由钢琴、贝司以及风琴组成的优美而层次化的作品，有童话般的歌词。

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[ 本帖最后由 zhangyibin 于 2008-2-29 00:21 编辑 ]

coldmark

盼星星盼月亮终于盼到了～！！！！！太开心～！

黑色柳丁

真是期待啊,看来要走成熟路线了

ryanfu

5月........好远哪.........希望这次的"不一样"不要变化太大........

小Tee

5月 就快了嘛 今年大牌也蛮多

stanlee0105

看这个样子我似乎很难接受啊！！那种舒适的假音才是我喜欢他们的原因啊！！！

xshinel

期待他们的第四张～～～