It features a sonic flirtation between the keyboards and an electric guitar – with Martin’s vocals occasionally drifting over that interaction. The song’s most beautiful part is its “outro” – a portion of the song that seems to have almost disappeared from the standard pop template. It has an almost anthemic quality and the vocal delivery on the repeating lines “ Carry your world” have a magnetic quality. In contrast to the verses, the chorus benefits from a richly layered production and soaring vocals (reminiscent of Martin’s vocal style on a track called “ Moses” – featured on a live Coldplay album from 8 years ago) by Chris Martin. The tune of the verses are very generic and unmemorable but the chorus is where things go right for the song. The verses feature a delicate piano refrain with sparse production thus predominately showcasing Chris Martin’s vocals. The down-tempo “ Atlas” suffers from the syndrome of almost being a great track but is not quite there. It is being featured on the “ The Hunger Games: Catching Fire” soundtrack. Their new single “ Atlas” surfaced today. Maybe being featured on soundtrack is the answer to a turnaround for Coldplay. It is fair to say that Coldplay‘s last album “ Mylo Xyloto” (released in October 2011) was not the artistic milestone they expected it to be and it probably did not win them any new fans either. This phenomenon of leverage from soundtrack features has continued to this day and can be used as an opportunity for a career revival. It was a #1 single for Adams – and it did well for someone that according to the mainstream media had passed his commercial prime in the US. Another example is the hit single “ Have you ever really loved a woman” by Bryan Adams. The song charted very low when it first debuted but as soon as it was featured in the “ Batman Forever” soundtrack, it skyrocketed to the top of the charts and won the highly coveted “Song of the year” award at the Grammys. A good example of this phenomenon is the hit single “ Kiss from a Rose‘ by Seal. In the mid-90s, the only way a “conventional pop” song could ever hope to see the light of day in terms of commercial success in America was by ending up on a soundtrack of a high-profile movie. America was a tough market for artists that fell musically within the realm of “conventional pop” (which as basically anything that did not qualify as grunge, R&B, hip-hop, or Alternative Rock).
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