A multi-award-winning experience of what it’s like to live in constant fear, from rookie Hungarian director László Nemes
In truth, of the eight previously unreleased tracks, one is a not-massively-adventurous reshuffle (the Osaka Sun mix of ‘Lovers In Japan’), another a 48-second long incidental piano piece, another the version of ‘Lost!’ that features Jay-Z on autopilot (ie, still quite amazing) but is on the flip of the single. So they don’t count. The opener is ‘Life In Technicolor (ii)’, which takes ‘Viva…’’s opening almost-instrumental and adds a typically bombastic melody, plus a chorus whose words (“Now my feet won’t touch the ground!”) are reprised as the title of the stripped-down, acoustic guitar-led closing song. And in-between? Well, there’s a positively garagantuan, only slightly Eno-ified stadium filler entitled ‘Glass Of Water’, featuring such deep and meaningful musings as “Dream that you could see your future/Inside a glass of water/The ripples and the lines”; a vaguely dance-y, ever-so-vaguely funky “experimental” effort called ‘Rainy Day’; and the title track, which tries oh-so hard to be a bit, y’know, strange, before the inevitable arrival of synth strings (buoying a ‘Wish You Were Here’-aping line in the guise of, “We’re just two little figures in a soup bowl”) and the even more inevitable arrival of – you guessed it — a life-affirming™ chorus.
All of which is far more complicated than it needs to be, a hefty bout of smoke and mirrors ultimately intended to add some mystery to the Coldplay campaign and re-ignite interest in ‘Viva La Vida…’ which, at the time of going to press, is residing in the lower regions of the Top 40. Will it work? Is ‘Prospekts March’ a stroke of marketing/brand reigniting/whatever genius? Lord knows. But can someone do me a fucking favour and please figure out the best way to do all this shit, so we can get back to reviewing actual music rather than all these crazy little projects?!
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