The definition of “Mylo Xyloto,” the world may never know, but what is known is that the album is about graffiti and the kids who make it. Messages of angst, ennui and loneliness abound. Mixed with singer Chris Martin’s characteristic vision of a bright future, they create a story of perseverance and hope against a hopeless world.
After the success of “Viva La Vida,” and its larger-than-life subject matter, Coldplay decided to tone things down. This album is simpler, and more personal: It’s about teenagers, and their problems. Coldplay loves to shake things up, crafting new aesthetics for each release, yet maintaining original style. “Mylo Xyloto” pulls this off fairly well, creating a solid electro/acoustic vibe, but some of this album is just lackluster and not up to what they’re capable of.
Unfortunately, Coldplay has fallen into the “repeat stuff” school of song writing. Both main singles, “Every Teardrop is a Waterfall” and “Paradise,” are repetitive ad nauseum. “Major Minus” is five lines packed into three and a half minutes. Martin’s profuse utilization of “ooh” and “whoa” as a vocal filler would be unforgivable if he weren’t so good at it.
The singles aren’t great. They’re easy to remember, and people can sing them loudly in their cars. Obviously, any successful pop single will fit the criteria, but Coldplay, is better than this.
“Paradise,” for all its faults, is a fantastic piece of music. Beyond the incessant repetition it does have some gems. This ode to escapism pulls its staying power from the more “epic” musical elements; sweeping strings, grand piano blasts and other sonic landscaping courtesy of producer Brian Eno.
“Every Teardrop is a Waterfall,” the second single, is fresh and exciting, lead by synths and guitar solos. With the exception of the sappy title and its oversaturation of the track, the lyrical presence is engaging and clever. This song deals with introverted sadness and a depressed optimist’s fight against alienation and despair. Its biggest victory is not making that sound melodramatic. The titular chorus is annoying, but overall this song is not as bad as its name would have fans believe.
The best songs on this album are the ones not getting radio play. “Hurts like Heaven” is a great album opener. It sets the pace and tone for the album in a way that leaves you excited to hear the rest. “Princess of China,” the third single, outdoes its predecessors in lyrical quality, and Rihanna’s guest appearance adds vocal diversity.
“Charlie Brown” is by far the best song on the album. It’s dynamic, it’s anthemic: It’s everything we love about Coldplay reinvented for “Mylo Xyloto.” It stays true to their style but fits it into the unmistakable angsty yet optimistic youth theme. As the track winds down, the music goes from fast and driving to slow and pensive, adding an entirely new dimension. The flawless transition into the piano interlude is striking in its rich simplicity. It’s the musical equivalent of a twist ending. It’s moments like these, the juxtaposition of the loud with the soft, the grandiose with the humble, that really make Coldplay as good as they are.
“Don’t Let it Break Your Heart” is unfortunately hidden toward the end of the album, leaving it to be missed by the casual listener. While it’s not quite as original or true-to-theme as others, it stands as a distillation of pure Coldplay wonder. After wading through the rest of the album, the song is a reminder why Coldplay is popular in the first place.
Like most of their albums, “Mylo Xyloto” has some astonishing tracks; however, its concept wasn’t enough to hold it together as a cohesive whole; the good songs can be enjoyed independently of each other, and the rest is easily skippable. This album is certainly not the best they’ve released, but even mediocre Coldplay is something on a different level.
