{"id":13874,"date":"2009-07-09T09:00:00","date_gmt":"2009-07-09T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/42-coldplay\/"},"modified":"2026-09-26T23:58:48","modified_gmt":"2026-09-26T21:58:48","slug":"42-coldplay","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/canciones\/42-coldplay\/","title":{"rendered":"42 – Coldplay: Coldplay built as a three-part piece with no chorus on Viva la Vida,"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

Viva la Vida, 2008: tres movimientos, sin estribillo, noveno intento llamado 42<\/h3>\n

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El piano y las cuerdas abren suave, casi como un ensayo privado. Luego el tempo voltea, la guitarra de Jonny Buckland corta, y el tramo final apila loops, bater\u00eda y m\u00e1s piano hasta llenar la sala. 42<\/em>, de Viva la Vida or Death and All His Friends<\/em> (2008), es Coldplay rechazando el mapa verso-estribillo habitual. No hay gancho que gritar a la primera escucha, y justo por eso se queda. La banda llev\u00f3 unos dos a\u00f1os intentando terminar una canci\u00f3n sin versos ni estribillo. Esta fue la toma que por fin encaj\u00f3.<\/p>\n

Brian Eno marc\u00f3 las sesiones del \u00e1lbum, empujando a los cuatro hacia el color y el riesgo en vez de otra copia radio pulida. A finales de febrero de 2008 mezclaban en su sede del norte de Londres mientras Eno se hab\u00eda ido un rato con U2. Rolling Stone pill\u00f3 a Chris Martin llamando a Buckland para regrabar guitarras despu\u00e9s de que alguien dijera que el medio de 42<\/em> sonaba a Radiohead. \u00abNo hay nada malo en sonar a Radiohead\u00bb, dijo Martin. \u00abEs solo que, cuando lo oigo en mi cabeza, no suena as\u00ed.\u00bb Cont\u00f3 a MTV que el t\u00edtulo era su n\u00famero favorito, y que cada intento fallido de la misma idea tambi\u00e9n se llamaba 42<\/em>. Buckland us\u00f3 una afinaci\u00f3n ostrich, todas las cuerdas en fa, que da al tramo central su mordiente tenso y raro.<\/p>\n

Una toma en directo de Madrid en 2008 acab\u00f3 en el \u00e1lbum live gratuito LeftRightLeftRightLeft<\/em> el mayo siguiente. En la gira Viva la canci\u00f3n iba cerca del inicio del set: intimidad de piano primero, luego el medio rock, luego el final apilado que necesitaba un PA limpio. Espacios de televisi\u00f3n como Later\u2026 with Jools Holland<\/em> pusieron la forma en tres partes ante un p\u00fablico de estudio que deb\u00eda seguir los giros sin estribillo al que agarrarse. Ves a la sala ponerse al d\u00eda en tiempo real, y ah\u00ed est\u00e1 ya la mitad del placer.<\/p>\n

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\n

Llev\u00e1bamos unos dos a\u00f1os intentando grabar una canci\u00f3n que no tuviera ning\u00fan estribillo y tampoco versos de verdad\u2026 y 42 fue la \u00fanica vez que lo conseguimos.<\/p>\n<\/blockquote>\n

(Jonny Buckland, sobre 42)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00bb14762″ img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1790418087{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n

La cr\u00edtica oy\u00f3 la influencia de Brian Eno y la ambici\u00f3n. Los fans aprendieron la estructura pasando el \u00e1lbum dos veces. El tema no necesitaba ser single para importar en el ciclo Viva<\/em>: demostr\u00f3 que Coldplay pod\u00eda romper su propia plantilla y llenar arenas sin red de canto colectivo.<\/p>\n

Pon 42<\/em> otra vez y el piano sigue sonando a comienzo, no a tesis. El salto de guitarra sigue sorprendiendo. El \u00faltimo minuto sigue neg\u00e1ndose a resolverse en c\u00e1ntico. Esa negativa es el punto, y por eso la canci\u00f3n sigue siendo uno de los deep cuts m\u00e1s afilados de un disco blockbuster. Dale al play solo por el giro, y qu\u00e9date a ver con qu\u00e9 limpieza encajan las tres partes cuando ya las esperas.<\/p>\n

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En 2008, Coldplay construy\u00f3 42 como pieza en tres partes sin estribillo en Viva la Vida, y discuti\u00f3 l\u00edneas de guitarra hasta que el tramo medio dej\u00f3 de sonar a Radiohead en la cabeza de Chris Martin.<\/p>\n","protected":false},"author":1,"featured_media":16850,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[305,299],"tags":[313,558],"class_list":["post-13874","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-canciones","category-criticas","tag-alternative-indie-punk-es","tag-coldplay-es","post_format-post-format-video"],"yoast_head":"\n42 - Coldplay: Coldplay built as a three-part piece with no chorus on Viva la Vida, - 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\/canciones\/42-coldplay\/\" \/>\n<meta property=\"og:locale\" content=\"es_ES\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"42 - 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