{"id":13315,"date":"2012-03-19T11:00:00","date_gmt":"2012-03-19T10:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/?p=13315"},"modified":"2026-09-27T01:59:22","modified_gmt":"2026-09-26T23:59:22","slug":"xy-coldplay","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/albumes\/xy-coldplay\/","title":{"rendered":"X&Y – Portada Baudot, Fix You, n.\u00ba 1 UK en una semana"},"content":{"rendered":"

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Parlophone, portada Baudot, junio de 2005<\/h3>\n

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El 6 de junio de 2005, Coldplay public\u00f3 X&Y<\/em> en Parlophone tras desechar gran parte de las sesiones con Ken Nelson y terminar con Danton Supple. Chris Martin, Jonny Buckland, Guy Berryman y Will Champion ya hab\u00edan marcado con Parachutes<\/em> y A Rush of Blood to the Head<\/em>. El tercer \u00e1lbum deb\u00eda ampliar la paleta con sintes y salas m\u00e1s grandes sin soltar las baladas de piano que la radio ya dominaba.<\/p>\n

La grabaci\u00f3n va de principios de 2004 a enero de 2005 entre AIR Londres, Parr Street en Liverpool, Chicago Recording Company, Sarm West, Townhouse y The Hit Factory en Nueva York. El manager Phil Harvey se aleja un tiempo. Las tomas tempranas con Nelson se aparcan cuando la banda siente que las canciones no encajan. Supple, que hab\u00eda mezclado buena parte del disco anterior, dirige la mayor parte del corte final; Nelson conserva cr\u00e9ditos en temas ligados a Fix You<\/em>.<\/p>\n

Speed of Sound<\/em> abre la campa\u00f1a de singles: sinte pulsado, guitarra con delay, voz de Martin que sube a un estribillo de estadio. Fix You<\/em> empieza con \u00f3rgano y guitarra suave, luego se abre en un lift a cuatro tiempos pensado para arenas. Talk<\/em> toma un motivo cercano a Kraftwerk y lo vuelve rock mid-tempo. The Hardest Part<\/em> mantiene acordes con tinte country bajo una melod\u00eda clara. El tema t\u00edtulo y White Shadows<\/em> empujan el borde electr\u00f3nico sin abandonar el n\u00facleo: voz al frente, guitarras al servicio del gancho.<\/p>\n

La portada escribe el t\u00edtulo en bloques de c\u00f3digo Baudot sobre azul profundo. Es gr\u00e1fica, no fotogr\u00e1fica, y anticipa las rejillas de luces de la gira. EMI envi\u00f3 millones en la primera semana mundial. En el Reino Unido el \u00e1lbum debut\u00f3 n.\u00ba 1 con 464.471 copias, entonces una de las aperturas m\u00e1s r\u00e1pidas del pa\u00eds.<\/p>\n

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\n

X&Y fue un \u00e1lbum un tanto conflictivo para Coldplay, con la banda batallando bloqueos creativos, incluida un intento abortado de que Ken Nelson produjera.<\/p>\n<\/blockquote>\n

(Rhino, mirando atr\u00e1s el debut en listas del \u00e1lbum)<\/em><\/p>\n

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La cr\u00edtica se dividi\u00f3 entre el elogio de la escala y el cansancio ante la franqueza de Martin. El p\u00fablico no se dividi\u00f3. X&Y<\/em> lider\u00f3 listas en docenas de pa\u00edses, encabez\u00f3 territorios de iTunes en la semana de salida y fue el \u00e1lbum m\u00e1s vendido de 2005 seg\u00fan los recuentos de entonces. La Twisted Logic Tour convirti\u00f3 el disco en luces y visuales de bloques cada noche.<\/p>\n

Lo que aguanta es la ingenier\u00eda de los grandes momentos. Fix You<\/em> sigue funcionando como subida lenta con payoff limpio. Speed of Sound<\/em> sigue entre rock alternativo y synth-pop sin sonar a memo de compromiso. El \u00e1lbum es largo y algunos temas del medio se parecen, pero los singles son la memoria p\u00fablica por una raz\u00f3n.<\/p>\n

Las l\u00edneas de delay de Buckland y las subidas de toms de Champion cargan con los cortes de arena, mientras el bajo de Berryman se mantiene mel\u00f3dico en lugar de enterrado. El cuaderno de Martin en este disco se inclina a coordenadas, mensajes y segundas oportunidades: lenguaje claro que el p\u00fablico de estadio puede gritar sin hoja de letras. Esa franqueza, m\u00e1s la imagen est\u00e9reo ancha de Supple, explica por qu\u00e9 la radio recicl\u00f3 los singles meses despu\u00e9s del pico de la semana de salida.<\/p>\n

X&Y<\/em> es Coldplay a escala estadio antes de los cambios de vestuario y las eras conceptuales. Documenta a una banda bajo presi\u00f3n que termina un disco a duras penas y luego lo ve dominar las estanter\u00edas igual. Para mapear c\u00f3mo el guitar-pop brit\u00e1nico se volvi\u00f3 global a mediados de los 2000, es un documento primario.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"

El 6 de junio de 2005, Coldplay public\u00f3 X&Y en Parlophone tras desechar gran parte de las sesiones con Ken Nelson y terminar con Danton Supple.<\/p>\n","protected":false},"author":1,"featured_media":13310,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[300,299],"tags":[313,558],"class_list":["post-13315","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-albumes","category-criticas","tag-alternative-indie-punk-es","tag-coldplay-es"],"yoast_head":"\nX&Y - Portada Baudot, Fix You, n.\u00ba 1 UK en una semana - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/es\/criticas\/albumes\/xy-coldplay\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"X&Y - 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