For me, the logos would become closely associated with specific movies where I first saw them. So while these aren't exactly scary movies, the iconic Columbia torch lady meant Ghostbusters, while the blue New Line Cinema box would get me pumped for some Ninja Turtles. And I vaguely remember being confused about why a Michael Keaton Batman movie would open with a Warner Bros. logo, since that meant Looney Tunes, and I didn't understand how two things with such different vibes could come from the same company.
Nothing special to see or hear in any of the following: their earlier stuff, their later stuff, tracks 2–12 on the same album, the 10,000 word essay in the liner notes, their followup single, etc.
Oh, I'm well aware. But the criticism I'm describing is that Joplin doesn't write and read the notes as plain .md files on-disk as its storage backend. As I said, the lock-in component to the criticism is overblown (due to, yes, the ease of export), but people also tout the Obsidian approach to storage as allowing more flexibility to also access and edit your notes collection outside of the application, not to mention the flexibility to roll your own two-way syncing solution to other devices that don't run Joplin, edit notes there and have changed synced back to notes in the application. I use and enjoy Joplin, and wish they would add something like that.
I brought this up because of what OP mentioned re: "view and modify" notes in something like jq. I'm sure they'd want their external changes synced back to their notes.
A surprising number of people will tell you that the reason they prefer the closed-source Obsidian to Joplin is that Joplin doesn't use Markdown files as its backend format to store its notes, but rather a database file. (They are formatted with Markdown, though.) I think the concerns they often express around lock-in are overblown, but this may mean it's not what OP is looking for. I agree that the Joplin app is pretty nice, though more polished and featureful on desktop.
EPs are Safety, The Blue Room and Brothers and Sisters, while the B-sides come from the better-known Parachutes singles Trouble, Yellow and Shiver. Some specific track picks I'd point to are "Easy to Please," "Bigger Stronger" and "Only Superstition."
If you want more chill, brooding, melancholy stuff — songs that sound about right for a band that named itself "Coldplay" — there are two EPs and a handful of B-sides from before Parachutes that are relatively unknown and have the same vibe.
For me, the logos would become closely associated with specific movies where I first saw them. So while these aren't exactly scary movies, the iconic Columbia torch lady meant Ghostbusters, while the blue New Line Cinema box would get me pumped for some Ninja Turtles. And I vaguely remember being confused about why a Michael Keaton Batman movie would open with a Warner Bros. logo, since that meant Looney Tunes, and I didn't understand how two things with such different vibes could come from the same company.