I am a Los Angeles-based twentysomething. I have a profession, and I have a secret life in music, and this blog isn't about any of that. I like Blogger because I can't read what you're thinking.
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Tuesday, December 21
I cannot think of another rhythm more pervasive in pop-rock music from the naughts than the one (I'd argue as) premiered by Coldplay's "Clocks."
I'd rank this rhythm as high up on influence as the Amen Break
. You hear it everywhere
and, more shockingly, the rhythm is such an integral part of the pop vernacular that we don't even notice how much it's recycled. I used to be annoyed by its over-saturation, but I learned to embrace it: The fact that so many artists want to capture a piece of this mind-bogglingly huge international hit is pretty endearing, especially when you consider how much shit a band like Coldplay get.
Chris Martin's piano voicings are especially of note. He, like Brian Wilson, often likes to use the third and fifth of a chord as its bass. It's an insanely difficult way to write (well, I think so) -- sort of like building a house from the inside out. This technique also tends to keep a song exponentially more interesting -- as seemingly status-quo as Coldplay are, they don't like to satisfy our typical/programmed needs for solid and expected cadences and tonal finality.
So I guess you could say I like Coldplay.