Monday, March 31, 2014

Broods EP | Broods


New Zealand is becoming quite famous for exporting its talented natives: First it was Kimbra, who stormed into the United States on "Somebody I Used To Know" with Goyte, then it was Lorde, who took the entire world by storm by simply releasing an EP on SoundCloud, and now it is the brother-sister duo of Broods who has come to the party with a self-titled EP.

The first song on the extended play, "Never Gonna Change," introduces listeners to a dreary, electronic sound, that can only be compared to the sound of American artist Banks. However, the lead singer of Broods, Georgia Nott, holds a lighter-toned voice. "Pretty Thing" implements an Ellie Goulding style of choppy vocal bits to create cool sound effects and harmonies; I like it.

"Bridges" has been playing frequently on Sirius XM station Alt Nation, which is where I first heard it. In this song, Georgia gets to put that light tone without needing to try sound too smokey as she gets to shine through an ironically buoyant chorus. It may carry a light sound, but is also burdened with lyrics regarding a rocky relationship: "And we're burning all the bridges now / Watching it go up in flames / And then we'd build it up again."

The Broods EP contains the perfect score for a restless night after waking from a nightmare. In "Sleep Baby Sleep," Georgia sings, "Sleep baby sleep / What are you waiting for? / The morning's on its way / You know it's only just a dream / Oh, sleep baby sleep / I lie next to you / The beauty of this mess is that it brings me close to you."

We get to hear more from Georgia's brother Caleb (the other half of Broods) in "Taking You There," which combines edited vocals with a light guitar instrumentation. In the song, Caleb sings more backing vocals than usual. "Coattails" follows "Taking You There" as the finale of the extending play. The song brings the album back to a sound similar to that found in "Bridges," which is definitely not a displeasure by any means.

Broods has just recently made their debut in the United States after the critical and commercial success in Australia and their homeland of New Zealand. I didn't know how I was going to react to this group, but I ended up loving the Broods EP; it deserves no less than four-and-a-half out of five stars. I highly suggest people check out this extended play, which can be listened to for free on SoundCloud on Broods' official account.

Tuesday, March 25, 2014

Shakira | Shakira


Ten. Shakira is now on album number ten. That's crazy to think about, isn't it? One day she was the "Whenever, Wherever" girl, then the "Hips Don't Lie" girl, then the "Waka Waka" girl... And now she's simply Shakira, just as her newest album title suggests. But can she live up to everything she has done in the past?

The album opens with the lead single, which we all know and love: "Can't Remember to Forget You," which wouldn't be complete without that steamy video with Rihanna. The two ladies allow the song to take such a seductive, tropical feel that it's almost impossible not to love it. (A solo Spanish version is included in the track listing, as well, accordingly titled "Nunca Me Acuerdo de Olvidarte.")

Shakira quickly slows the album to a mid-tempo speed with the beautiful power ballad "Empire." In fact, I loved the song so much when it first debuted that I had to immediately write a review on it. The chorus quickly builds to a loud, explosive sound as Shakira sings "And the stars make love to the universe / And you touch me / And I'm like, and I'm like, and I'm like / Ooh, ooh, ooh, ooh." The sexy, smooth, reggae-infused "You Don't Care About Me" follows "Empire," which I quite like.

Following that bit is a song that sends Jennifer Lopez and her frequent RedOne-produced dance tracks packing. "Dare (La La La)" features the handiwork of Dr. Luke behind the soundboard and comes for blood in the genre of electronic dance music. Every time I listen through the album, I have to replay this track at least twice before moving onto "Cut Me Deep," which brings back the reggae influences first found in "Can't Remember To Forget You" and "You Don't Care About Me." The song features Magic!, a relatively new band from Canada.

In "23," Shakira takes time out to declare that she likes the number 23 to one-up Taylor Swift truly loves the father of her son in acoustic track, which ends with the sound of their child. Shakira met Gerard Piqué when he was 23 (which is ten years her junior), which makes the number meaningful to her: "I knew we had something / From the moment I met you I knew we had something / No one thought it could be true / Hey do you believe / Do you believe in destiny? / ‘Cause I do as I did then / When you were only 23."

Aiming at light pop-rock audiences, "The One Thing" goes from a relaxing verse pattern, to a light rock chorus, to a "We Will Rock You" stomp pattern. Everything in the track listing seems to flowing just fine until... ugh... The inevitable duet attempt between Shakira and another cast member of The Voice. Tearing a page out of Christina Aguilera's journal, Shakira pulls Blake Sheldon out of his country safe-zone for the pop-rock bit "Medicine." I guess it's alright, but it feels too predictable.

And who knew that Shakira could be related to Avril Lavigne at all? In "Spotlight," it seems that Shakira tries to pull her best Canadian faux-punk princess she could, as her vocal technique in the verses seemed to be emulating that of Lavigne's in "I'm With You." Following this is the forgettable "Broken Record" and the Spanish version of the first track on the record, as I had already mentioned.

Closing the standard version of Shakira is "Loca Por Ti," an original song in solely Spanish. (For those who do not know the language, the title translates to "Crazy For You.") It's a nice sounding and peaceful song, but ending the album with a Spanish piece in a primarily English speaking country is just a bit off-putting. But then again, that also helps express Shakira's roots, which I do like.

In the United States, a deluxe edition of the album can be found at Target stores which comes packaged with three extra tracks. The first bonus track is a re-work of "Dare (La La La)," while the second, called "Chasing Shadows," carries an early 2000s pop sound with disco influences and was penned by the amazing Sia Furler. Finally, "That Way" drifts the album away with a piano-filled lullaby.

There are some great songs on this record: "Can't Remember to Forget You," "Dare (La La La)," "You Don't Care About Me," and of course "Empire." But there are also some cuts on the album that are just simply forgettable. For a tenth album, I feel like there should be less filler material on the album, but there is a sufficient amount of good material for fans to hover over for a while. Personally, I know I'll have about half of the album on replay for a while.

Thursday, March 20, 2014

Pulses | Karmin


After multiple different delays and two different single attempts, pop duo Karmin have finally managed to drop their debut full-length album, Pulses. After an image change from their extended play debut, the Hello EP, they're back to show the world what they really have got in store.

After a small introduction track, the album is already pulling out the title track, "Pulses," which is an electronic track with Nick Noonan doing the vocals and Amy Heidemann rapping Iggy Azalea style. "I wanna raise pulses / La chica with the mostest / Not in the mood for the average Josephs," raps Heidemann over a light trap track.

The third track, "Acapella," is supposed to act as the lead single, although it was released all the way back in July of last year. Pulses was meant to be released soon after the release of "Acapella," but feuds with Karmin's record label pushed the release date all the way to this month.

Although I absolutely hate the typo in the title (It's a cappella, people. A cappella.), I actually like the song. It's half-rapped, half-sung, with a cappella ad-libs in the background. The completely a cappella "woah-oh-oh-oh-oh" round from Heidemann obviously doesn't sound good, but I think it was meant to sound somewhat funny. The lyrics are kind of stupid too ("We hit that Olive Garden, my Little Italy / Daddy always said, 'Let the gentleman pay. / Never ever go Dutch at the buffet.'") but in the end it's a harmless little pop gem.

The second single, which was released back in January, feels more like lead single to the album thanks to its proximity to the album's release. "I Want It All" pulls in a seductive funk-inspired sound that could inspire some smooth moves on the dance floor. The chorus carries some simple lyrics ("All I need is one more night with you / It's amazing what just one more night can do / I want it all") but in the end, like "Acapella," it's another guilty pleasure of mine.

"Night Like This" finds Karmin in a light pop sound. The song is dominated by the sounds of a guitar and drums and it's a perfect track for summertime driving (I seriously cannot wait for summertime and taking long drives from city to city shopping, and I know this one will be on my playlist). The much more mature ballad "Neon Love" follows; Heidemann's vocal strength is top-notch in this song and the lyrics improve as well. "I never noticed how hard it is under these lights / This neon love is burning too bright / Baby, sometimes it's hard enough just getting by / This neon love is making us blind," sings Heidemann, with Noonan accenting vocally under her.

The mid-tempo "Drifter" takes some tips from urban and dubstep inspirations and uses both of them lightly to create a nice little sound. The lyrics aren't fantastic, but they'll do just fine for a fun little pop song: "I'm a drifter, yeah / No, I don't know where to be / I'm a drifter, yeah / No, it really ain't much to see." Keeping the mid-tempo pace, "Tidal Wave" is a nice duet power ballad with metaphoric lyrics about... Yep, waves and water. Heidemann and Noonan sing, "The tidal wave is forcing us to swim at a distance / So our love is washing away / With all the push and pull we're caught up in / Can we brave the tidal wave?" It is in this song that I can hear just how well the two blend in terms of vocal tone; they sound phenomenal.

Karmin brings in a surprising mixture of a light tropical beat and an overall electronic sound with "Gasoline" before "Puppet" brings back the catchy, trippy pop sound that the album was founded on. Like in "Tidal Wave," the metaphors in "Puppet" are pretty obvious: "Don't you get the feeling that you're tangled up / I can pull a string until it's good enough / But don't you love it, love it / When you're my puppet, puppet." Both songs are great additions to the album before the inevitable filler track hits the tracklisting: "Hate to Love You." It's an alright song, but it's quite obvious that it was made to fill up space because there's nothing quite special about it.

"Try Me On" is a nice little summery bop that eventually allows Heidemann to throw out her rap skills in a small urban breakdown: "I be comin' at you like a ragin' bull / You better be gunnin' with a cannon full / I don't wanna hear you say a thing at all / Unless you're sayin' baby do you want some more." The urban grooves keep flowing in the album's finale, "What's In It For Me." It sounds like a throwback to 1990s dance and as a child of the 90s, I love the sound. Many artists are looking towards the 1970s and 1980s for their inspiration nowadays, but I'd like some nostalgia of my own!

Karmin has got just the right type of style to make themselves stand apart from everyone else out there right now. They're kind of hip-hop, they're kind of pop, and they're kind of electronic; they've just got a really cool little vibe going on. The lyrics may not be spot on all the time, but I didn't expect them to be; it's supposed to be a fun little pop album. Regardless of lyrical content, the vocal talent is there. Heidemann sounds great in both rapping and singing, while Noonan compliments her well with his vocals (the fact that the two are actually engaged is adorable; what an amazing musical couple).

Pulses is set to drop on Tuesday, March 25, 2014 via Epic Records. Be sure to go out and pick yourself up a copy; I'm sure you'll enjoy it just as much as I do.

Wednesday, March 19, 2014

The Electric Lady | Janelle Monáe


Three years after her debut, Janelle Monáe has stormed back on the scene with her two-disc sophomore follow-up to The ArchAndroid. The Electric Lady acts as the fourth and fifth parts to her planned seven-suite Metropolis concept. 

Wikipedia says that this album "incorporates influences of hip hop, soul, funk, gospel, jazz and rock." I think this sums up The Electric Lady perfectly; it's got a wide variety of sounds. However, as most of my readers know, I don't usually touch on any of those genres, so this is a brand new reviewing experience for me! I surely hope that I've done the job justice, although this is a relatively short review.

For "Give Em What They Love," Monáe calls in the help of musical heavyweight Prince, in which the two slide through some harmonies while smoothing sliding the song's title in lyric form. And then in "Q.U.E.E.N." Monáe brings out a funky electronic sound with some older jazz elements added in. That sound eventually fades towards the end of the song to a primarily jazz sound as a guest vocalist does a rap outro.

The most radio-friendly track on the album is "Dance Apocalyptic," which uses a fast-paced jazz sound to create an infection track with carefree lyrics like "If the world says it's time to go / Tell me, will you freak out? / Smash, smash, bang, bang / Don't stop / Cha-lang-a-lang-a-lang!" Eventually the song spirals into a short hip-hop inspired outro with a strange alien voice (which I think is supposed to represent Monáe's alter-ego, "Android") rambling some nonsense: "What's the matter? / Your chicken tastes like pork? / You have triplets instead of twins? / Is your food taste plastic?"

"Ghetto Woman" is a smooth, chilled funk track with some eighties inspirations mixed in. The song maintains this sound for a while, until the breaks into a rapped verse about her mother who gave birth to her as a teen: "When I was just a baby my momma dropped out of school / It was only second semester the baby due / The doctor said 'December the first your due date.'" From what I've gathered, the song also combats racism and prejudice: "When you doubt if you’re a star, just know we still believe / Carry on, ghetto woman / Even when the news portrays you less than you could be / I wish they could just realize / All you ever needed was someone to free your mind."

If you're a fan of jazz or soul, this album is for you. Monáe put a tremendous amount of work into The Electric Lady and it definitely shows. This being said, it's really not in my taste. Some of the songs are on par with my normally pop, indie, and dance tastes, but a lot of the album hits with a funk-packed punch. Taking myself out of that mindset and giving the album an unbias review, I threw three stars to it. It seems like a decent piece of work in my eyes.

Monday, March 17, 2014

Supermodel | Foster the People


It seems like every year, indie music is dragged around from sound to sound; usually it's a trend set by one artist. 2012 was all about the dreary sadcore sound of Lana Del Rey and alt-J, and 2013 was pretty well dominated by the bare-bones sound of Lorde, the twinkly synths of Chvrches, and the light rock sound of Haim. However, Foster the People is back to release a follow-up to their 2011 debut Torches, and they're here to drag indie music back a few decades, into a summery, relaxing vibe.

The first two tracks from the album seem to run hand and hand in terms of meaning: "Are You What You Want to Be?" and "Ask Yourself." Both of them have a nostalgic, summery feel and both rely on a theme of self-reflection. Personally, I feel like "Are You What You Want to Be?" is like "Call It What You Want" 2.0, but that isn't necessarily a bad thing.

The lead single from Supermodel is very likable, but gets a bit repetitive. "Coming of Age" is, well, about coming of age and growing up... which is evidently made clear in the chorus: "Feels like, feels like it's coming / It feels like, feels like I'm coming of age / Feels like, feels like it's coming / It feels like, feels like I'm coming of age." This same chorus is repeated five times throughout the song, so it's clear where I got that whole repetitive comment from. The song is catchy though, and borrows slightly from electronica, featuring plenty of electric guitar riffs.

The longest song on the record, "Pseudologia Fantastica," tops out at just over five and a half minutes. The song is full of gritty, 80s style synths and even more guitar patterns. The pre-chorus finds lead singer Mark Foster soaring into a whiny falsetto; I like his chest voice much better than his head voice. After a short interlude, the album kicks into a disco-inspired bit called "Best Friend," which I quite like.

The iffy falsetto and abundant electric guitar layers are back in "A Beginner's Guide to Destroying the Moon," but then Foster creates a much nicer sound as he finds himself dipping to the lower ends of his range in the chorus when he sings "Now I’m staring at the moon wondering why the bottom fell out / I’ve been searching for answers and there’s questions I’ve found / Open your eyes and share this burden somehow / Are you ready to drink / Or are you waiting to drown?"

The album takes an acoustic turn on "The Truth," with some nice harmonies while Foster chants "Save yourself, save yourself," before spiraling into some awkward bit about pimps and prostitutes. (I don't know, and I'm not asking.) And finally, the album concludes with "Fire Escape," which utilized a faint banjo or sitar, spacy, glitchy synths, and... wait for it... more electric guitars. The song concludes with one final, giant climax of all of those sounds to give the album a nice ending point.

Supermodel is just so indie that it hurts. Everything about this album perfectly fits hipsters down to a tee, right down to the inspiration of the cover art for the album, which is a mural representing a model having a breakdown and vomiting while the cameras of the media are watching her in the background even at her most vulnerable time.

It's a cohesive album, but that nostalgic, summery feeling can only go so far before sounding repetitive. I like it; I really do. I just wish some new sounds were implemented in this album. Like with Torches, there are some amazing highlights on this album that far exceed what I was expecting from Foster the People. But as a whole, I was left wanting just a little bit more.

Thursday, March 13, 2014

Yours Truly | Ariana Grande


Ariana Grande found her way to stardom as a star in Nickelodeon series like Victorious and Sam & Cat, but has finally branched out to find her true talent: Singing. Grande released her debut last year with some pretty great critical reviews and I finally picked it up to see what kind of punch she is truly packing with Yours Truly.

Yours Truly opens on a strong note: "Honeymoon Avenue." The song acts as a metaphor, comparing love to a crowded highway while brand new couples have it is on 'Honeymoon Avenue': "I feel like my heart is stuck in bumper-to-bumper traffic, / I'm under pressure / 'Cause I can't have you the way that I want / Let's just go back to the way it was / When we were on Honeymoon Avenue."

If anybody wants to argue that Grande is the "new Mariah Carey," the song "Baby I" is the song to use in arguments. The song goes into full R&B mode (considering it was originally written for Beyoncé but later rejected), and features Grande's voice at its strongest. "Daydreaming" is also another great song to listen for Grande's vocal strength, although parts of the song uses vocal editing techniques for effect.

The most popular track from the album is arguably "The Way," which has well over 100,000,000 views on YouTube and was played on a regular basis on Sirius XM Radio when I was driving this summer. "The Way" features rapper Mac Miller, who almost ruins the song. However, Grande's part is good enough to keep the song afloat; it's an average song.

I loved Grande's live performance of "Tattooed Heart" on the American Music Awards, and the studio version is just as nice. Her voice is outstanding in the song, but the lyrics are ultra simplistic and are about loving someone unconditionally. There is a lot of "tattooed heart" repetitions. The song "Piano" is also kind of simplistic in the lyrics... it's literally about getting a new piano and writing a love song on it: "I could write a song by my new piano / I could sing about how love is a losing battle / It's not hard." However, it's like a cutesy Carly Rae Jepsen song: it's so catchy that I couldn't help but like it.

My favorite cut from the album is "Popular Song," which is a collaboration between Grande and Mika. The two have voices that blend really well and has lyrics that could make fun of pop music culture; everybody is like an unknown indie artist until that one song hits radio hard, and then suddenly everyone loves the said artist and they can truly be considered popular. This can be seen as the duo sings "You were singing, all the songs I don't know / Now you're in the front row / 'Cause my song is popular."

Grande has some promising material here. Many times, the albums that I rate with three stars either have a ton of really average songs, or a handful of amazing songs tossed in with some duds. With Yours Truly, it is the former: A lot of these songs are nice little gems to listen to, but there are only a few songs that hit me to the point that I could listen to them on repeat for days. However, her voice throughout the entire album is outstanding and I now she's going to go a lot farther in the music industry with that voice.

Sunday, March 9, 2014

Divergent: Original Motion Picture Soundtrack | Various Artists


Fans of books, movies, and music will all be pleased with new release: the soundtrack of the movie adaption of Divergent. Artists like Ellie Goulding, Zedd, Woodkid, and M83 were pulled in for this record and none of them managed to disappoint.

One of the first songs we all got to hear from this soundtrack was Zedd's "Find You," which features the vocals of Matthew Koma and Miriam Bryant, both of which Zedd has worked with before. Koma and Bryant's voices blend well together in the song, and the song is produced in a way that makes it clear that Zedd touched it but still manages to sound fresh.

The defining artist of this soundtrack and the entire movie itself? ELLIE, ELLIE, ELLIE! Do I have a problem with this? Not at all. In fact, Ms. Goulding is the one who made me so excited for this soundtrack (as well as the score, which she worked extensively on). On this record alone, four pieces from Goulding can be found: two songs from Halcyon, one new remix of "Hanging On," and a brand-new song written for the movie, "Beating Heart."

Obviously most fans are most concerned with the brand new material: "Hanging On (I See MONSTAS Remix)" and "Beating Heart." This new remix of "Hanging On" gives the song a whole new vibe. I've always loved the original version as well as the Living Phantoms remix, but the I See MONSTAS remix has kicked the song into a urban-inspired club trance. That breakdown is extraordinary; it relies heavily on multiple vocal layers placed over each other, which is a fundamental element in most of the songs on Halcyon. (The ODESZA remix of Pretty Lights' "Lost and Found" and the Skrillex bit "Stranger" that appear later in the track listing have equally great breakdowns.)

"Beating Heart" was described almost perfectly by a user on Tumblr, Blog of Gould: The song is like a happier-sounding version of Goulding's "Hearts Without Chains" mixed with the sound of the song she did for the soundtrack of The Twilight Saga: Breaking Dawn - Part 2, "Bittersweet." It's like an electronic power ballad. I especially love the explosive chorus, in which Goulding sings "Wanna hear your beating heart tonight / Before the bleeding sun comes alive / I want to make the best of what is left, hold tight" over pounding drums and synths.

Newcomer Pia Mia comes to play in the track listing of this album, after recently being signed to Interscope Records at the age of seventeen. Her track, "Fight For You" is okay and tries to keep the electronic feeling that Zedd and Goulding brought to the table, but it takes a nose dive with the featured verse by Chance The Rapper. Another fairly new artist that I fell in love with last year, Banks, is featured on the deluxe version of the album with her amazing gem, "Waiting Game." I already wrote up a review for "Waiting Game" when I reviewed Banks' London EP a while ago.

Opposite of the newbies, long-standing band M83's "I Need You" opens with an airy sound before spiraling into a louder indie rock sound, before using vocals edited with a vocoder and a saxophone descant. Also common names in the music industry, Snow Patrol provides "I Won't Let You Go," which is an alternative cut heavy in drums. Snow Patrol's lead singer, Gary Lightbody, has a very soothing baritone voice with a nice tone to add to the song as well. Woodkid's track "Run Boy Run" is also another song filled with drums and hand claps; it's a very tribal sound.

The entire soundtrack is very urban inspired and feels like its heart is in the inner city; I love it. Although so many different artists are on this album, it feels very cohesive and flows well. I don't usually like action movies, but I do plan on going to see this movie; partly because of Ellie Goulding and this rest of the soundtrack line-up. For anybody else wishing to do the same, Divergent will be in theaters March 21, 2014. The soundtrack will be released this Tuesday, March 11, with the score following on March 18.

Monday, March 3, 2014

The Bones of What You Believe | Chvrches


Fresh out of the European indie scene comes Chvrches, a band that is taking their own route to stardom. They've developed their own niche of sparkly, twinkling synths and sounds and have stretched it out into a full length album called The Bones of What You Believe.

The album was released in September, and then marketed with a single, "The Mother We Share," starting in November. I first heard it on the radio while driving and was fascinated with the twinkly sound and lead singer Lauren Mayberry's cutesy, light voice. (The discovery of this song is another great example why Sirius XM Radio is totally worth the $100 subscription every year; I find such great music on it every day, unlike public radio that replays the same songs over and over again.)

"I'm in misery where you can seem as old as your omens / And the mother we share will never keep your proud head from falling," sings Mayberry as the chorus arrives. The chorus is such a peaceful yet noticeable climax that mellifluously flows the song along and makes for a great listen; perhaps even the best from the album, to be honest.

"We Sink" and "Gun" are other peppy listens from the album. In "We Sink," Mayberry and fellow band member Martin Doherty duet about a committed relationship through any bothersome events: "I'll be a thorn in your side / Till you die / I'll be a thorn in your side / For always / If we sink / We lift our love." Meanwhile, "Gun" points towards a bit more... dangerous conflict in a relationship, as Mayberry sings "You better run, you better run so / Hide, hide I, have burned your bridges / I will be a gun and it's you I’ll come for."

"Tether" opens with a very quiet and somber feeling, but halfway through it, the song expands to a bouquet of sparkly synths while Mayberry sings "I'm feeling capable of saying it's over" repeatedly. From what I've been able to tell, it's a song about a relationship that is unmistakably over but the two just don't want to say that it is because of the tether that has kept them together for so long.

The twinkly synths are ditched to make room for a darker sound in "Science/Visions," instead adding some electric guitars and drums. Some edited vocals and chanting of "I hear you're breathing / I feel you leaving" makes it sound like there's a exorcism happening inside this chvrch if nothing else. (Oh, look at me implementing the Chvrches spelling change.)

Even with the slight changes in sound here and there, I've found this album to be very similar to Haim's Days Are Gone in the sense that a lot of the songs are great on this album, but listening to it all in one sitting gets tiresome. The band has got a cute, unique sound going on but I would like to see them evolve on it a bit. Nevertheless, I found some great gems on this album and I'm glad that Churvches has been able to make the popularity waves they have so far.

Sunday, March 2, 2014

Midnight | Coldplay


Alternative band Coldplay has an extensive discography under their belt and decided they could follow the footsteps of Beyoncé by dropping a new single with absolutely no forewarning.

"Midnight" has not been announced to be the lead single from any new projects, which could mean it was simply an extra track for fans to gush over, but it does show some evolution of the sounds of Mylo Xyloto and Viva La Vida or Death and All of His Friends

The song doesn't have many lyrics, but nearly none of them can be distinguished as real words; lead singer Chris Martin seems to slur his syllables together throughout the song. However, underneath the YouTube video are the song's lyrics spelled out in black and white: "Millions of miles from home / In the swirling swimming on / When I'm rolling with the thunder / But bleed from thorns / Leave a light a light on."

Martin's voice has also been shoved through a vocoder to create a cool paralleling robotic vocal line as he sings. It's definitely something different in their discography and not a song to be ignored: "Midnight" could signify a new era for Coldplay and I'm excited to see what they have in store.