Coldplay has always been a band that does it big. The band’s sweeping sound fills stadiums and has thousands of people singing and clapping along to each hit, containing an infectious sing-along chorus. Whether you love them or absolutely despise them, you respect what these British rockers have to offer. So what’s the result when Coldplay tries to outdo its already speaker-shattering sound? You get ‘Mylo Xyloto;’ a massively overproduced, uneven studio album that continues the band’s transformation from a piano-driven rock album to electronic-tinged pop group. 

The band sets the tone for its fifth studio album with opener ‘Mylo Xyloto,’ a 42-second ambient instrumental filled with organ sounds, bells and other assorted musical elements. It’s essentially a filler track, and the album has a total of three fillers that help ease the transition between songs. This new love affair with strange electronic noises can certainly be attributed to ambient sound master Brian Eno, who produced both ‘MyloXyloto’ and ‘Viva La Vida or Death and All His Friends.’ The track seamlessly transitions into the ‘70s new-wave dance track ‘Hurts like Heaven.’ Great guitar solos and riffs and a simple catchy chorus pack the upbeat song, proving the members sound best on this album when they are just being themselves.  

And that’s where the problem with ‘Mylo Xyloto’ lies. Coldplay dismissed Chris Martin’s signature haunting vocals, lead piano riffs and the other band members’ talents, and instead, they opted for Chris Martin tinkering on a laptop with Pro Tools and ‘whoa-ee-oh’ choruses.

The album’s two singles reveal this experimentation-gone-wrong at its worst. The band must have crafted ‘Paradise’ with a 50,000-person stadium in mind, layering the song with so many instruments it sounds as if 50 members make up the band. Though undeniably catchy, the track is a blatant attempt at creating a radio-friendly single for the masses. 

‘Every Teardrop is a Waterfall’ experiences the same problems. It trips over itself due to too many instruments. Its rave and electronic experimentation has allowed it to become a club hit, but the song is disjointed. It can’t decide if it’s a rock anthem, a dance track or a ballad. Jonny Buckland’s beautiful crafted riff does all it can to keep the song grounded.   

On the other hand ‘Princess of China’ featuring Rihanna shows Coldplay’s success experimenting withelectronica, thanks again to Brian Eno’s expertise. The song is an electro-pop gem containing lyrics of loss and regret with the pitch-perfect Rihanna showcasing her immense talents. Its synth-fuzz groove combined with the dual vocals makes it a standout track. 

Coldplay didn’t forget to create some power ballads. Unfortunately, ‘Us Against the World’ is a dull acoustic track. Ambient noises flood the background as Martin does his best Bob Dylan impression. The beautiful ‘Up in Flames’ is the album’s saving grace, allowing Martin’s high-pitched falsetto to shine over a repeated electronic drumbeat. Buckland once again crafts the perfect riff for the song’s airy climax. 

‘Major Minus’ is the only straight rock track with Buckland’s excellent sly guitar work. The heavily distorted slide guitar riff carries the song while Martin repeats ‘us against the world.’ Though most of the world may be on Coldplay’s side, it will certainly be interesting to see how die-hard fans react to an album that blends so many genres and is drastically different.  

Much like ‘Viva la Vida or Death and All His Friends,’ ‘Mylo Xyloto’ is not quite sure what it wants to be. Half the album consists of dance-pop anthems that will be dominate clubs for years. The other half strips them down, making them reminiscent of ‘A Rush of Blood to the Head.’ Perhaps it doesn’t matter that Coldplay still does not sound comfortable with its new experimental direction. In the end, ‘Mylo Xyloto’ is sure to be amultiplatinum-selling album that will have fans packing stadiums and arenas during the band’s next tour.