All posts by Philip Terry Graham

About Philip Terry Graham

Altwire contributor from Sydney, Australia, writing reviews and insight articles. Also the author of 'Finding Isaac' and 'Seeds of a Dandelion', and the producer behind the Sounds of the Cosmos ambient music project!

Album Review: Red Vox – What Could Go Wrong?

For every music artist, there’s always that gigantic first leap that they must take – the first release, the one that makes, breaks, defines, stereotypes and/or changes their life forever, for better or worse. This week, a modest band, spearheaded by Vinny of Vinesauce fame and accompanied by close friend Mike, made that leap. Their outstanding debut album, while not perfect and rather lacking in momentum, offers a nice relaxing ride with what could be described as rather chill and ethereal tunes that make callbacks to the golden days of traditional rock.  It doesn’t tread too far outside of safe boundaries, but for what it is, it doesn’t really need to, as the comfy guitar-and-drums-centric sound is enough for any rock fan to enjoy thoroughly.

What Could Go Wrong? professes some neat and cosy ideas both musically and lyrically. It’s not a complicated album, with simple compositional themes and motifs introduced in each track. The ideas conceived and played around with in every track is in each way unique and enjoyable, whether it be the harmonic three-note background vocals that appear throughout the lounge-rich “Along the Way”, the poppy and upbeat guitar dance in “Telephone”, the psychedelic drum strokes and wavy melodies of “Hazy”, or the sharp-shooter cliques of “Job in the City”.

Vinny’s handling of the guitar, in respect to how each note and chord is plucked and stroked out, does a grand service to the album’s laid-back sound and texture. In addition, Mike’s masterful work at percussion serves to give each track its own unique flavour and style with the different kinds of beats he’s managed to pull out of his hat. The most amazing flavour of the album, however, is Vinny’s spectacular vocal ability. On a number of the tracks, Vinny puts on a different voice to match the tone and lyrics of the track. In a sense, this gives the objective singer of each song their own character and traits. For example, in the album’s opening track, “There She Goes”, Vinny assumes the voice of a grungy, douchey and boastful man singing about the many female catches he’s made. In “Hazy”, Vinny assumes a coarse, but soothing voice that can only be described as Kurt Kobain meets Eddie Vetter, to match the soulful, psychedelic drive of the music.

What Could Go Wrong?, however, does have a slight number of things wrong, though, it’s not enough to denounce the album title as ironic. A few of these problems are the odd discrepancies in production, such as the rather compressed sound of “We Had a Little Talk” and the audio glitch effects in “Along the Way”, a track that would probably do better without those effects due to its down-to-earth nature and message.

Another is the simple fact that the entire album sounds rather same-y in its laid-back and non-explosive nature that it suffers from a mild, but easily tolerable case of what I’d like to call the ¡Uno! syndrome: where all the tracks in the album sound so alike through the course of the album that any and all excitement and interest would be completely shut off for the average listener. Fortunately, the syndrome isn’t as effective as it was for Green Day’s ¡Uno! borefest, for which this phenomenon is named, namely because of the ideas and themes that colour each track on What Could Go Wrong? The average mainstream listener who would usually listen to pop-blasters like Lady Gaga’s Artpop or accessible concept albums like Coldplay’s Ghost Stories would probably be turned off by this record. The average rock fanatic, though, would enjoy each track’s flavour despite the overall average sound.

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Despite those arguably minor shortcomings, What Could Go Wrong? Is excellent in concept and execution. The musical pieces fall together neatly in place on this album, heralded by the fantastic musicianship of Vinny and Mike, where each song is gifted with a lovely suite of cool guitar-and-drum tunes, accompanied with strong and earthly vocals from Vinny. Every track works well and sounds great to the ears of the like-minded, though might shy away curious mainstreamers due to its consistently same tone and sound, despite every song on the album being decorated with its own unique spark, constrained within that sound. For Red Vox, What Could Go Wrong? is a great first leap to take, and it’ll be exciting to see in what direction Vinny and Mike will decide to take their next big leap.

Album Review: Kanye West – The Life of Pablo

So, it’s no big secret that the production of Kanye West’s latest effort, something that West himself touted and paraded as “the best album of all time”, was incredibly unorganized. Many tracklist changes, changes to production and constant delays and setbacks only served as an omen to what could only result in something that music scholars and critics definitely wouldn’t be looking back on, in 10, 20 or 50 years’ time, as a landmark piece in music history. Unfortunately, with no big surprise, Yeezy’s new album is exactly not that. While Kanye’s talent shines through in a few golden nuggets that once again showcase his ability to create strong, belligerent tracks, the majority of the album is a miss with poor, seemingly rushed production and lyricism that is too embedded in ego and pop culture.

The Life of Pablo, it’s called; a weird, but interesting reference to the notorious drug lord Pablo Escobar. It clocks in at just under an hour long, and is constructed with eighteen tracks lined up in a haphazardly awkward fashion. There’s a constant, dizzying movement throughout the album, going back and forth between the album’s well-crafted artistic tracks and tracks made specifically for Yeezy to let out his egotistical tirades. Let’s call it for what it is: this isn’t on the level of My Beautiful Dark Twisted Fantasy or Yeezus. On Fantasy, Kanye West uses his ego to front the music’s personal themes and on Yeezus, he uses it to paint his place in society and his feelings towards the outside. Here, it’s trash talk for the sake of trash talk. Yeezy wants us to think that there’s a spiritual theme and motif on the album, connected to religion and views on life. It’s true that on some tracks, such as the album’s glorious opening track, “Ultralight Beam”, this religious overtone shines thoroughly, but on a majority of the tracks, such as “Famous” and “Facts”, it’s just simply not there.

Plus Kimoji just shut down the app store, ah!
And we made a million a minute, we made a million a minute

Tracks like the aforementioned “Facts” are what ruin this album and destroy whatever arcs this album had. In the track, he rants on about Nike, the success of Kimoji and his 2020 presidential election bid. The two-parter “Father Stretch My Hands” has Yeezy opening the track with “Now if I fuck this model / and she just bleached her asshole / and I get bleach on my T-shirt / I’mma feel like an asshole”, for no clear reason but for the shock factor. This shock tactic is something Kanye uses often on this album; on the opening lines of “Famous”, he proclaims that he could still have sex with Taylor Swift because he “made that bitch famous”. It’s concerning to see someone like Kanye, who is usually a master at weaving his own personal life and experiences into his music, has now devolved into flat out trash talk, mostly concerning having sex with women, that does not at all contribute to the album, its sound or feel. Apart from Chance and the legendary Kendrick Lamar, the featured artists on the album either don’t do much to redeem the album, or go as far to make it worse. On the aforementioned “Father Stretch my Hands” recent G.O.O.D. Music signee Desiigner vomits out his ego too: “I got broads in Atlanta / twisting dope, lean, and sipping Fanta / credit cards and the scanners / wake up Versace, shit life Desiigner”. How classy.

While this problem alone would be a sore for the album’s audience, it is made worse, as it seriously conflicts with tracks such as “Ultralight Beam”, decorated with the sounds of a child giving thanks to God, and Chance the Rapper giving his own thanks to Yeezy, making the often-used contrast between Kanye and God. Another track, “Low Lights”, features a woman giving a testimony of her life and her own spiritual connection between her and god. “Wolves” even has lyrics that allude to the birth of Jesus. It seems as if Kanye was trying to tie together a concept album with a strong religious overtone, but gave-up halfway through and filled the missing gaps with disposable diss-track and mixtape material that would be better suited as an upload on SoundCloud, and not being painted onto something such as The Life of Pablo. Unfortunately, this actually seems to be the case; the album was originally supposed to be titled So Help Me God, a nod to the religious motifs of the album’s artistic tracks.

There is an in-between, however, as well: tracks that aren’t as embedded in ego and pop culture, but don’t necessarily follow the album’s continuity of religious and spiritual references, further adding to the disorganization and chaos of the album, but in a lighter way. “30 Hours”, for example, sees Kanye rap about his feelings towards a former, from his now-married perspective. “FML” has him calling out against the people, especially former friends, that opposed his relation to Kim Kardashian. While they both lack in production and overall sound, once again opting the rushed feeling, it’s a neat window into Yezzy’s personal feelings, nonetheless, concerning his marriage to Kim, and his view on his own past. There are also some down-right weird as hell moments on the album, as well. “I Love Kanye”, which is a short rap without instrumentals, has Yeezy voicing his love towards, you guessed it, himself! There’s also “Silver Surfer Intermission”, which is a recording of a phone call with Max B, as he rambles on about waves while giving a shout-out to Kanye. Weird indeed.

Real friends, how many of us?
How many of us, how many jealous?

Among all the noise, discord and anarchy though, there is one track that stands out above all the rest. While it is completely disconnected from the religious motifs, like most of the album, it holds a strong message of it’s own, crafted with Kanye’s own personal experiences with the people in his life. “Real Friends”, which lies dormant midway through the album, is a testimonial that best represents the kind of music Kanye West does best. In the track, he lays out his feelings towards the meaning of friendship on a beat led by a beautiful piano riff. Together with the voice of Ty Dolla $ign, the harmonious back-and-forth momentum of the track is carried by the strong outrage of opinion written into the track’s powerful lyrics. It’s funny, however, that such a track would find its way into an album full of tracks that don’t even get anywhere close to the kind of power and impact that “Real Friends” has; it is essentially the fool-proof evidence to prove that the album’s development and production was, to simply put it, poor.

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There’s many, many things wrong within the basic infrastructure of The Life of Pablo that could’ve easily been fixed, but wasn’t. A baffling, broken and awkward process of production contributed to the creation of an album that goes into one direction, gives up, retreads the direction, gives up, goes in a new direction, and gives up again. No featured artist on the album could save it, no producer working on the album could save it, and despite their otherwise enlightening presence on the track list, no great songs on the album could save it. The Life of Pablo was doomed ever since tracks that were focused more on spitting and choking graceless shock-and-awe, pop culture and ego-embedded noise were added onto the track list. Those tracks competed, and seemingly won against, tracks that were more focused on delivering a thematic experience that explored Kanye and his spiritual connections. Tracks such as “Real Friends” will live on, while this album won’t bear past it’s own annoying buzz.

New Year, New Sounds – The Most Anticipated Releases in 2016

It’s 2016, peeps! The Olympics are coming to Rio, a new president will be elected in the United States, and Juno will finally arrive at Jupiter, amongst many other big things set to occur this new year. As the Earth starts making yet another loop around the Sun, the mainstream rock artists of the world planning new releases in 2016 will also be making their loops around fans and media alike. Whether it be recent big-hitters, long-time rockers, or comeback kings, there’s plenty to be excited about in 2016 if you’re in the mainstream.

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From the get-go, there’s a few big names making a splash in January. The legendary David Bowie, who had been largely forgotten by today’s generation before the unprecedented success of 2013’s This New Day, is capitalizing on his new-found fame in the modern spotlight with his radically different Blackstar. An interesting art rock effort, the album had been described by Andy Gill of The Independent as “the most extreme album of his entire career“, and it shows with the album’s title track and “Lazurus“, both eccentric and sharply deviant from the traditional Bowie sound. Blackstar is penned for a January 8 release.

Panic! at the Disco are back on the scene, after months and months of anticipation for their fifth studio album, Death of a Bachelor, throughout 2015, after the album’s lead single, “Hallelujah“, was released as early as April. Inspired by lead singer and writer Brendon Urie’s earliest memories of getting into music, Death of a Bachelor is just as explosive and unhinged as you’d expect from the band, and more recent releases from the album, such as “Victorious” and “Don’t Threaten Me With a Good Time” prove exactly that. The album comes out on January 15. Bloc Party’s Hymns, which releases two weeks later on January 29, is poised to be a more calm and collective record than the band’s previous efforts. With an appropriate name, Hymns is aiming at a more spiritual and downbeat experience, with “The Good News” and “The Love Within” serving as windows into the band’s new-found chill side.

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Another legendary British artist, Elton John, is planning to add yet another album to his discography with Wonderful Crazy Night, penned for a February 5 release. Expect yet another fun record from Elton, if “Looking Up” is anything to go by. Another thing to expect is the long-overdue return of Wolfmother to the spotlight, with their new album Victorious landing on February 19. The band, who have gone through various changes and even a rather awkward breakup/hiatus in 2013, have not been in the mainstream spotlight since 2009’s Cosmic Egg, nearly seven years ago. Backed by producer Brendan O’Brien of Pearl Jam and AC/DC fame, the title track is already being nominated by fans as one of the band’s best yet.

Pop rockers The 1975, after achieving worldwide success with their self-titled debut album in 2013, plan to release their long-awaited follow up on February 26, annoyingly titled I Like it When You Sleep, for You Are So Beautiful Yet So Unaware of It. Now that’s a mouthful. Stylistically different from The 1975’s previous work, it will present a rather polarizing sound, with the discords of “Love Me” and the thumping, popping progression of “UGH!“, representing an interesting change in the band’s musical direction.

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Past all the named-and-dated releases coming in the first few months of the year, there are plenty of artists still planning big surprises and new sounds in 2016. Trent Renzor, the lead singer and songwriter of the ethereal Nine Inch Nails, stated in a short and simple tweet, “New NIN coming in 2016. Other stuff, too.”

90’s rock heroes Red Hot Chilli Peppers have almost put the icing on the cake with their hotly-anticipated upcoming eleventh studio album. It’ll be their first album in five years; their last effort, 2011’s I’m With You, was an immense success for the band, and it is hoped that the new album will keep the band’s momentum going, having curbed the five-year gap with a lengthy tour and an appearance at Super Bowl XLVIII in 2014. Punk rock legends The Offspring are putting the icing on their new cake too, with a new album that the band plan to release in 2016. Interestingly, however, the band are not signed on to release this album with any label yet; they had recently thrown up the rights to their albums earlier in 2015 for a starting price of $35 million.

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OneRepublic, the lofty alternative rock band that saw a stratospheric launch with 2013’s Native, have been working on the follow-up for the past two years. Hyped by guitarist Drew Brown as allegedly the best album they’ve ever done, the band are waiting on a window to release their new album, which will be sometime in early 2016. The dreamy electronic rock act The xx are in the final stages of recording their third studio album; a follow-up to 2012’s Coexist. The album also follows Jamie xx’s very own solo album, In Colour, which was released in May 2015, to a favorable reception.

Bink-182 are also in the studio constructing their seventh studio album, their first in five years. However, their efforts have been rather strained recently, with the departure of founding member Tom DeLonge in 2015. Drummer Travis Barker says otherwise though, claiming that the band are apparently “knocking out a song a day”, in a recent interview with Rhythm.

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In addition to artists planning 2016 releases, there are also other artists currently in the earlier stages of recording new material, such as Damon Albarn and Jamie Hewlett’s Gorillaz, who are currently at play in the studio. Albarn described the direction of the new album in an interview with Rolling Stone

“I’m in the very early days on a new Gorillaz record. So far, it’s really fast, and it’s got quite a lot of energy. I’ve been stuck on piano, somewhere off Broadway, for years now. I want to go somewhere completely opposite of that.”

Nirvana-age rockers Pearl Jam are apparently also working on a new album, according to statements made by bassist Jeff Ament back in August 2015 that the band would start recording a new album after the band’s Latin America tour in November 2015. While there hasn’t been any official word on a new album, it’d be assumed that it’ll be a while before we hear new material from the band.

Who we’ll more likely hear new material from instead could be the one-and-only Sigur Rós, who are currently working with grammy award-winning producer John Congleton, in a studio in New York. The band are planning yet another European tour in mid-2016 as an artistic exercise, calling back to the days when songs and albums were written on the road, taking the experiences of the tour, and incorporating them into the music; a concept used by a handful of modern musicians, inducing Foster the People, for their ambitious 2013 album, Supermodel.

From this vantage point, looking towards the next 365 days in music, it already seems like it’s gonna be a wild ride! However, even taking into account all the albums officially pinned onto the calendar, albums about to be finished, and those only started, there’s always the added mystery of those popular artists who record new albums in secret; being created behind the doors, with music fans and followers having no clue whatsoever. Whether it be recent big-hitters, long-time rockers, or comeback kings, there will sure to be some huge surprises from artists not mentioned in this article, or any article like this, who could land one smasher of an album, anytime, anywhere in 2016.

Happy new year to all the readers and followers of Altwire and music fans alike!
May 2016 be the best year yet for you, and the people closest to you!

‘The Hateful Eight’ Soundtrack Penned for Release

A soundtrack album to Quentin Tarantino’s latest film, The Hateful Eight, has been announced for release on December 18, 2015 by Decca Records. The soundtrack, which features music from The White Stripes, David Hess and Roy Orbison, will come packaged with 28 tracks, including the score by legendary film composer Ennio Morricone, and excerpts of the dialogue from the three-hour snowy western.

Morricone has been often cited as the man behind the sound of the western film genre, having composed the iconic music to classic western films such as 1966’s The Good, the Bad and the Ugly, and 1968’s Once Upon a Time in the West. The Hateful Eight, however, is his first western film in over thirty years, and will mark the composer’s return to the genre. The album will also feature The White Stripes’ “Apple Blossom”, from their 2000 album De Stijl, David Hess’ “Now You’re All Alone” from the soundtrack to the 1972 film Last House on the Left, and Roy Orbison’s classic “There Won’t Be Many Coming Home” from the soundtrack to the 1967 film The Fastest Guitar Alive.

In addition to a digital release, the soundtrack is also penned for a release on vinyl, with the help of Jack White’s Third Man Records, in a limited edition set that features a powerful, blood-spattered artwork depicting O. B. Jackson’s (played by James Parks) stagecoach riding through the snow, passing by a half-buried crucifix:

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The Hateful Eight (Original Motion Picture Soundtrack) will be released by Decca Records on December 18, 2015. You can pre-order the album on iTunes. A limited-edition vinyl version of the album is also available to pre-order through Third Man Records.

 

Album Review: Coldplay – A Head Full of Dreams

In what has become a rather predictable, but welcomed pattern in Coldplay’s lineage of studio albums, the band have yet again made a sharp veer to the left, this time onto the abstract, psychedelic highway with their seventh studio album, A Head Full of Dreams. Some people, such as myself, had worried that the artistic endeavors of Coldplay would die down after the “emotional treadmill” that was the band’s last studio album, Ghost Stories. It seems we were wrong; A Head Full of Dreams not only carries the artistic legacy of Coldplay, it elevates them to an entirely different level. Here, in this 45-minute swim through a sea of bliss and color, lies some rather deep themes and motifs that make for a powerful piece about life and love.

While most people would compare A Head Full of Dreams to the band’s technicolour rock opera Mylo Xyloto, simply because the album is also electronic rock, it’s actually much different from that. For a start, there’s no over-the-top moments on A Head Full of Dreams, and it’s a much calmer sound than what you’d be used to with Mylo Xyloto. Comparisons aside, A Head Full of Dreams stands on its own as a very other-worldly piece that makes use of various non-traditional elements to the sound, such as a consistent ambience that soothes the listener through tracks such as “Birds”, “Army of One” and “Amazing Day”, three tracks that are very well representative of the album’s general sound: sweet, relaxing and colourful. In fact, the word “colourful” can be used to describe everything in this album, from the soaring sounds of the album’s title track and opener, to the deep, cherishable nature of “Everglow”.

Lyrically, A Head Full of Dreams is laden with many, many intertwining motifs and themes. A common interpretation of the album would be that the album is a celebration of life, speaking through abstract lenses. One such example of the way the album describes life from such an angle is the aforementioned “Everglow”, which attempts to describe the feeling of absent love through a concept known to songwriter Chris Martin as an everglow. Also riddled through the album are motifs that pay homage to ancient eastern literature, such as Attar’s The Conference of the Birds or Rumi’s “The Guest House”, from which lines are read from in the track “Kaleidoscope”. Diamonds and space are also things that get mentioned a lot throughout, the former representative of people born out of enormous societal pressure and the latter as an ultimate goal. Constant references to eastern proverbs such as the Yiddish proverb “you can’t empty out the ocean with a spoon”, and callbacks to Rumi’s poem in places such as the opening lines of “Everglow” give a charasmatic weight to the album’s important life lessons and its uplifting messages of hope, which is something that Coldplay is definitely good at, if we remember back to albums such as X&Y.

Lying in the gutter, aiming for the moon
Trying to empty out the ocean with a spoon
Up and up, Up and up

If you’re not interested in the lyrical artistry of the album, A Head Full of Dreams can deliver just as well, with its well-contained production and seemingly organized sound, that manages to conjure up some powerful moments and roaring anthems that will make a stadium full of people energized and singing along. Of course, that would be an appropriate, since Coldplay are usually good at making music that fits well with their stadium-filling tours. Alongside the familiar Rik Simpson, who had produced Coldplay’s music since the Viva days, the band had also hired the dynamic Norwegian duo StarGate, known for their often spacious and colourful sounds, to produce this album as well. The result is a beautiful piece that makes for a good album to pop on the speakers, when you need a soundtrack for your day. Chris’ vocals, Jonny’s guitar, Guy’s bass and Will’s drums sound better together here than on any other big-budget produced album that the band has done this far, which would definitely please the so-called “oldplayers” who prefer the older style production of albums such as A Rush of Blood to the Head, where most of the band isn’t drowned out due to overproduction, which was the case on Mylo Xyloto. On A Head Full of Dreams, the band no longer takes the B-stage to the production; all four members of the band are at the center of the sound once more, and that’s definitely a good thing considering the many great moments that Guy, Jonny and Will have to offer, such as Jonny’s epic guitar riffs, Guy’s various smooth and funky bass lines, and Will’s championing beats throughout the entire album.

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Overall, A Head Full of Dreams is a fantastically-crafted album that marks yet another daring, triumphant high point in the band’s creative work, which has come a long way since the Parachutes days. Coldplay have proven once again that they still can produce something even more different and awe-inspiring, even after six albums. The lyricism and artistry in the album not only has weight, but succeeds in presenting us to the world we know through a different lens, through many themes and motifs inspired by familiar eastern literature. Its sound is amazing, its production is amazing, and the way the band has handled their music, with style and grace, is amazing. I had mentioned earlier in this review that  “colourful” is the best way to describe most things in this album, and it’s definitely true. As silly as it might sound on paper, the complexity and optimism of colour shines through on this album, a beautiful collection of sonic brilliance that, in its own way, paints a brand new colour of its own.

Imagine Dragons Pitch In to Aid the Syrian Refugee Crisis

Alt rockers Imagine Dragons have joined forces with iTunes, SAP and the United Nations High Commissioner for Refugees (UNHCR) to help aid the ongoing refugee crisis in Europe. The band have released a new single on iTunes, entitled “I Was Me”, with all sales and proceeds of the single going to the UNHCR to help fund the effort to ease the crisis and support families displaced by the Syrian Civil War.

“I Was Me”, an acoustic ballad reminiscent of early American folk songs, features lyricism written from a reminiscing perspective; alluding to the feelings of the refugees involved in the ongoing crisis. Singer Dan Reynolds, in an interview conducted for the effort, described that the song was about “trying to regain your life, which is exactly what millions of people are going through right now”. In a post on their Facebook page, announcing the partnership and new single, the band wrote, “with 11 million homeless and 300k killed, the refugee crisis could not be more urgent. none of us can turn a blind eye to the tragedy unfolding in front of us”

“I Was Me” is available to download on iTunes here. The band also urges people to also consider donating to the UNHCR, whose website can be found at unhcr.org. There are also plans to release the single on other platforms, such as Google Play, in the near future.

Coldplay has “Amazing Day” at Global Citizen Festival

British rockers Coldplay headlined the Global Citizen Festival on Saturday afternoon, making the most of their six-song setlist by inviting Ariana Grande up onto the stage and debuting a brand new song, allegedly from their forthcoming album A Head Full of Dreams.

The Global Citizen Festival, established as a fundraiser for initiatives to end extreme poverty by the 2030s, has been directed by the band’s lead singer, Chris Martin, since its conception in 2012. The band’s ventures in charity and humanitarian movements are well known; they are close to Oxfam, having been strong and vocal supporters of their Make Trade Fair campaign, and have made many headlines over the years for their consistent six-figure, and sometimes seven-figure, donations to charity.

Their performance at the festival was marred by a mishap, however, before the show began. Martin’s piano, which would have been used to perform hit songs “Paradise” and “Clocks”, had broke, forcing the band to replace the two songs on the set list with Parachutes classic “Yellow” instead. American pop star Ariana Grande was invited onto the stage to perform a collected acoustic duet of her song “Just a Little Bit of Your Heart”, with Martin.

The setlist was capped off with a very special surprise, a brand new song called “Amazing Day”, which some are, not surprisingly, entertaining the idea of it being our first look at the band’s forthcoming studio album, A Head Full of Dreams, which is rumored to be slated for release in late 2015 or early 2016. While more upbeat than their efforts on the “emotional treadmill” that was Ghost Stories, “Amazing Day” is just as mellow and laid back, though with more optimistic lyricism.

The Global Citizen Festival will run throughout the weekend; with Beyonce and Pearl Jam slated to perform tonight at the festival which is being held in Central Park. You can watch Coldplay’s performance of their new song “Amazing Day” below:

Birds of Tokyo Surprises With Brand New Single

Australian rockers Birds of Tokyo have surprised its fans with the premier of a brand new single, entitled “I’d Go With You Anywhere“, during Richard Kingsmill’s radio show on Triple J. The track, noted by the band to be unrelated to their upcoming fifth studio album, follows just months after the release of their polarizing Anchor EP.

“I’d Go With You Anywhere” marks yet another departure taken by the band, taking on a upbeat and more cheerful tone than most of the band’s earlier work, and making use of more traditional instruments and a fetching cello riff. It contrasts greatly with Anchor, which employed heavy electronics and darker sounds. Dropping almost seemingly out of the blue, the song was first played on Triple J, and was later uploaded to the band’s official SoundCloud and YouTube pages.

The new track, however, is not representative of the plans Birds of Tokyo have for their new album that’s set to be released early next year. During an interview with Triple J, the band’s guitarist Adam Spark stated, “what we do after this particular track is completely different to this again.” The band have so far amassed over 30 tracks written and demoed for the new album, of which the band will be “test running” in a string of festival shows across Australia in October through to December. A list of tour dates can be found on the band’s official website.

“I’d Go With You Anywhere” will be available on September 25 through EMI Australia. You can listen to the brand new track below:

Imagine Dragons Release New Song “Roots”

American rock band Imagine Dragons have debuted a brand new song entitled “Roots”, which was released online overnight on iTunes. The new track comes a few months after the release of their album Smoke + Mirrors in February, which enjoyed favorable critical and commercial reception.

The  track, which earned lots of attention on social media in the hours following its premiere, immediately followed a campaign by the band that asked followers to submit childhood photographs of themselves on Instagram or Twitter with the hashtag “#MYROOTS”. The photographs were collected and added to Imagine Dragons’ “family tree”, an online mural by the band that now encompasses thousands of photographs and created as a thank you from the band to its many fans. The tree can be viewed in its entirety here!

“Roots” is available now on the iTunes Store and Apple Music through KIDinaKORNER and Interscope Records. You can listen to the new track below: