Coldplay's Music of the Spheres

 

There is very little to be said about this album, situationally it's an "either it is or it isn't" which is impossible to know or determine, (presently, -and likely never will be, I mean, a prospective meeting would take Providence in ultracolour spades, but then, the fact that this song premiered live on my birthday is an interesting coincidence). When I try to find people, they get found, so it's not completely impossible for something like the reverse to happen.

That aside, I'm going to address this album apart from this one singular digression, which is how I regard the song, "Higher Power". What I mean by pointing out this song is set apart on the album is that I by and large regard this production from the viewpoint that it is a male Transcendent doing most of the talking, speaking inspirationally. "My Universe" translates this way by speaking in terms of a cosmology, which is an active one I already presented (as part of the terminology and symbolism that was "Universal"), with all the inspirational songwriters who are participants historically identified as stars (with "star" as one of her initial symbols). The song is broader in interpretation, (obviously), but if I apply this analogy about being from "two different sides" and a love described as not possible, this fulfills as an ultimate interpretation, because the couple described from the male first person perspective meet one another in the sky, meaning they astral in spirit (or something else decidedly not normal). This of course depends on how literally you're interpreting the song; the point I'm trying to make is, my narrative is the one point of place where this is literally interpretive, thanks to how this is going to demonstrably continue to unfold on itself.

"Coloratura" extends and develops the same historic analogy by describing it in terms of an event of heavenly descent (as in coming from the sky down to earth) with both earthly and heavenly observers, accompanied by a solar system and nebula (which is what the song title connotes on the concept album), with any number of stars, heavenly bodies and satellites (Galileo is not the satellite but the person) as participants. It takes the cosmology that is realized between two lovers in "My Universe" and graduates it to a universal context, a full solar system, full of ascendent individuals who are witnesses to the event. The plot device is liberation of the solar system (centered on a sun) through music, and it is now visible and manifesting on earth. (In keeping with the sun symbolism being representative of a transcendent male spirit, stuff like this has landed from other albums.) The concept of coming from an alien world ("everyone is an alien somewhere") and the meeting of two species is a new age approach  that is analogous to the (significant) divergence in Christian theology the iBook delineates occurring separately between two individuals whose later encounter is defined by this differential belief (this one. and belief in a feminine Holy Spirit). The divergence is a common belief in pre-conception existence (p. 78, but go ahead and search the term for full explanation).

Also the album cover centers this solar system on the vesica piscis, (backed by a trinity of circles), and this is the geometric image that appeared against a void that in the protagonist's the night after this encounter began twenty-nine years ago, on November 3rd 1992. This is on p. 407 in the iBook. I did not discover what the geometry might mean as a symbol until I was writing the book. (It then happened to come up in this song reference Bono wrote about his parents, after I'd created the footnote saying Coco Chanel's logo was based on the vesica piscis.) This gets an explanation in the first paragraph on p. 37 of TRiMB because WPC is now incorporating the symbolism into his wardrobe in quite a significant way, with a cross for a clerical collar on (predictably) an astronaut. The infinity symbol appeared in TRiMB on the very top of p. 40. 

Higher Power

"Higher Power" stands alone because it is the one song that is self aware of the Transcendent, as a man speaking to a woman he knows has accessed the Transcendent, but is actually someone the songwriter has never met (and would like to). 

"[H]eavenly phone" connotes the ability of transmission without any personal encounter or speech. 

The significance of the song is that it is addressing a feminine object (yes that's an assumption on my part, but it is due to the love song he sensed) who has a direct uplink to a spiritual "higher power" sensed by Chris Martin himself through himself. The song arrived at a bathroom sink January 2020 (a month after I fired off my snail mail). Plus, as mentioned (if you want page references, scroll down to "Balcony Man"), dancing was a big thing in what happened. And that is that. 

How would you demonstrate the above was really possible to someone possibly on "the other side"? Well. This is that exercise, actually. It is a working exercise whether it ever happens to reach or be absorbed by Chris, or not, which is something I really don't have the power to determine. I've been undermined by silence of omission at every threshold historically so I've nothing backing me up. 

So, why does an album so general it could be about just about anything or anyone matter to this context? Because of its scaling a romance on a cosmic level, and because it's an "I do" on that level, which means it answers on the level described. The universal feedback loop for me is an objectivity test that's sort of been at my employ for thirty years. Without it, I'd be ascribed a lunatic with a purely internal narrative that means nothing at all if not entirely delusive. That this is the first thing coming back (more or less), tells me that I'm not. Because what I'm describing in the narrative is an engagement->consummated marriage (that's taken 27 years to elapse -> "slow burning tune" -and this says so back on a transcendent level, which is the literal assertion of the first song on this album, thanks to Chris Martin being self-aware. It does it without my power or input. It says so back in a time delay. In that sense of all that happening unconsciously, beyond my individual power or anyone else's, it is the ultimate objective test of what's actually happening. 

 

Let Somebody Go

"Let Somebody Go" happened in terms of the full letter I sent, in that I said everything sank due to a heartbreak that broke everything. Since that letter is not public I'm not cracking the substance but it is substantiated in the sense that the context of the pairing that existed in the past was measured in the pain that took place breaking it, and that it is restored.. "Human Heart' reinforces that context.  

People of the Pride

So in terms of particulars, I said the transcendent male "side" of the universal awareness would be symbolized by a lion, and we get "People of the Pride" as the oppostion to the authoritarian present. I am well aware of how this is being "rainbow" framed against an authoritarian trope (but this trope infers a religious or spiritual confrontation because the outcome of the authoritarian with a God complex (absolutism) is to attack any "unbeliever" in terms of a death penalty (more downwelling of the sacred with the profane into a context it shouldn't, the political reverts to tribalism as identity politics). As a spiritual paradigm this actually casts back to the fall of the "king" on "Vida la Viva", with "king" being a stand in for absolutism in terms of ruling by Divinne right. The song also asserts that the only escape from this situation is a hatch door to heaven (basically willingness to do the work grind it will take, plus the willngness to accept martyrdom for the cause), which also casts the confrontation in a spiritual context. The opposition is, at least, bipartisan-ly framed, which is essential. I do my own framing, so given where I started this pitch on the spectrum it is, at launch, bipartisan-ly framed.

Going back to the lion prediction (p. 18, last paragraph TRiMB). The prediction was made on the basis of this album cover, but when I wrote about it, I misapprehended it (in large part because of how it was cropped), and had no awareness of the wide image. So to correct the misapprehension in the writ (which isn't a problem really, it's just a doubling effect of sorts), go off this cover, know that horses are my favourite animal (GHOSTEEN, "Bright Horses" explanation), and understand the "the lion shall lie with the lamb" is a meme that's not biblical. Both the lamb and the lion are representative of Christ, with the lion respresenting the incarnation of the Second Coming. 

Also I'm going to mention that in terms of the question of being free to fall in love with whomever, this book raises far graver and radical moral questions than anything to do with same sex attraction or sexual identity.

Biutyful

Watermelon moon, so happy you're alive
And I feel like a river, finally arrived at sea

So with this couplet the song is speaking personally to a feminine personification of the moon and in terms of the universal unconscious sea anaology, which began with interpreting this as the river and transitioned to the sea, this moon personification is reposible for the singer's release from pain and spiritual arrival via inspiration to total immersion/integration with the universal transcendent connection binding all of humanity. Both were mentioned as arch-typical symbols, with the prediction that the woman would be symbolized by the moon, with the sea representing how this symbol transmits.

 

Music of the Spheres

"Remember, everyone is an alien somewhere"

 

My Universe

As mentioned there is some variance in translation, (this and this for example), which shift interpretation a bit, but it has some digressions in general that don't make it an ordinary love song. The love object is one the singer lies down and looks up at, he can see infinity in her eyes (somehow she's accessed the potential of forever), the context between between them is declared to exist forever, they fly up and meet each other in the sky (that's based on translation (italics below)), and they are made of each other:

I fly to you every night
forgetting that it’s just a dream
I meet you with a smile
Never ending forever baby

[Chorus]

The darkness was more comfortable to me
in the long shadow (eyes)

They said that we can't be together

Because we come from different sides

[Chorus]

A star embroidered with love that lights me up

You in my universe, making another world

You are my star and my universe
Even this trial now is only temporary
You will always shine bright like now
We'll embroider this long night with you

I fly with you
When I’m without you I’m crazy
Come on, take my hand
We are made of each other baby

So again, she is symbolized existing as a star that is capable of creating a world, a star that cast lights in others. It's a love song with a cosmic analogy, which I predicted, (albeit separately, under her symbolism and the universal's universal symbolism), although I was clear her star symbolism was universal and expressed about all the other songwriters as stars. Voila, a love song appears in the same context. It is then exptrapolated into a universal context in terms of becoming its own galaxy that is broadly witnesssed in the neavens and on earth with "Coloratura", where the Transcendent responds with "I do". What I'm trying to say is that in the exhibit I'm attempting to test here, with the assertion there is collective inspiration that is linked unconsciously happening through an array of songwriters who don't realize they are patching into a specific event on a time delay, my narrative is just purely an internal narrative that is wholly subjective and subject to being a purely internal narrative. It is just that, unless and until this happens on a universal transcendent level. That I said this was a transcendent, cosmic "I Do" happening as a singular interior experience was literally what happened first, more or less, in the broader musical feedback.

Infinity

After this we have "Spiritus Sanctum", a Latin phrase that was used to connote the Holy Spirit. As mentioned, this whole premise hit the fan between two people who shared a common digression in Christian belief about the Holy Spirit (iBook, p. 412, p 482). This album is deliberately signified by the same spiritual identity. Chris Martin is not alien to Christianity. It gets slipped in from time to time (lyrics).