Coldplay / Head Full of Dreams

Rumored to be Chris Martin and the band’s last album together, Head Full of Dreams is pretty much what you’d expect from a group whose soft rock “pop”ularity has more to do with their ease of appeal than any boundaries they’re pushing. That said, the titular opening song is pretty killer, with its synthetic dance pulse, punchy drums and hypnotizing guitar riffs. This very dance-friendly lead single certainly strays afar from the band’s last album (the somber and sobering Ghost Stories), and while the band may be playing house (music) for new fans, the party doesn’t last. Even when invitees and collaborators include the Queen Bey herself, Oasis’ Noel Gallagher and Martin’s ex Gwyneth Paltrow, much of it seems a little forced. (“Like us, kids, tweens and teens, we have Beyoncé on ‘Hymn For The Weekend!’”)

There are Coldplay’s requisite ballads, but nothing new or revelatory unless you count the irony of having Paltrow sing backup vocals on “Everglow,” a song about her and Martin’s “conscious uncoupling.” Other than the opening single, the only other legit highlight on the album is “Adventure of a Lifetime,” Martin’s musings on his mid-life state of mind after 20 years with the band.

The album is a perfectly pleasant, but not much more than that. With their planned gig at Super Bowl 50’s Halftime Show (Feb. 7), they may just snag that new legion of fans this album seems to be targeting. And I’m betting Coldplay sticks to playing the two standouts mentioned here to get the crowd going.

For more information, visit coldplay.com.

By Mike Wood

Star Wars: The Force Awakens Soundtrack 

When it comes to movie compositions, the Star Wars theme is by far one of the most iconic and recognizable. John Williams created a piece that lives in the memories of my generation and spurs new memories in younger fans, as well. With all the buzz about the newest film released in December, it is no wonder that the soundtrack is flying off shelves.

Though I am a huge fan of John Williams, I was concerned that the music he was writing for the movie would sound much like that of the other movies in the series. This concern proved unwarranted. Other than the main title theme, which obviously cannot change much, lest Star Wars nerds everywhere riot, the music is unique. There are moments of quiet winds and chimes, and there are glorious builds that make the scenes on the big screen grab the hearts of viewers. The soundtrack has amazing texture to it. Even if you haven’t seen the movie, you could envision what may be happening based on the music alone … the signature of any great artist.

Each of the album’s 23 compositions brings a new boldness to Williams’ catalogue of greatness. “Finn’s Confession” is one of the most beautiful songs, even though it lasts only two minutes. It’s a subtle, cleansing breath after the fast-paced and action-packed “The Rathtars” just before it. “Kylo Ren Arrives at the Battle” is just plain awesome, grabbing you and putting you right into the fight scene, light sabers blazing. My favorite on the album, though, is “Farewell and The Trip,” which really takes everything I love about Williams and combines it into one song. Soft moments and ambitious moments, this song just has it all. The album ends with an eight-minute “The Jedi Steps and Finale,” leaving me with the anticipation of the next movie, just so I can hear what William’s comes up with for it.

The soundtrack to Star Wars: The Force Awakens can be found nearly anywhere. To hear a preview, check out the Amazon listing. Fun fact: The film made more than $300 million in five days, outselling every other film in box office history.

By Jennifer Russo

Drayter / Nine

Finally the rock world has a female singer for the 21^st century who pulls no punches. Nine, the new album by Dallas-based Drayter, is an exciting and promising listen that has the potential to change the playing field of what female lead vocalists are expected to embody in a pop/rock band.

Singer Liv Miner is at the forefront of Nine and has a strong showing filled with an attitude and spirit that carries over into the band’s overall performance. Despite the opening number, “Run,” which hints at a more pop-oriented set to follow, Drayter veers off into a hard-rock tone as the album progresses, creating a nice juxtaposition to the sometimes-smooth vocals of Miner. While Miner’s singing may sound unconventional over heavy power chords, it’s this difference that’s most appealing. There are undoubtedly many pop hooks to be had on songs like “Criminal” and “So What,” and Miner can fill that role nicely, but it’s when she matches the brashness of her stellar band with the inflections in her delivery that you really begin to take notice. “Still Here” is an example that captures this perfectly, as Miner sings, “You tried to break our world in two/But we’re still here” over a charging chorus.

It is all at once refreshing and welcome to hear a female vocalist take the reins of a rock band. Not only does Nine have a good amount of songs you can listen to repeatedly, it has songs that offer a much-needed perspective in the genre.

For more information, visit facebook.com/Drayter.

By Jason Savio