Viva la Vida or Death and All His Friends

by

Coldplay

Edit

Coldplay has turned in another solid effort with its 4th studio album, the indecisively-titled "Viva La Vida or Death and All His Friends," but they expand their boundaries this time. Gone is the predictability of tightly-wound, highly catchy 4 minute arena pop/rock anthems marching in succession, not to mention the sensitive male singer/songwriter clichés and often dial-by-numbers production values. The British quartet has traded that solid but stagnant formula for artsy experimentation, and the results are commendable, even if their enlisting legendary studio wizard Brian Eno to bolster the LP's ethereal, left-field sound is in and of itself predictable. These songs do not lend themselves to radio playlists in the vein of "Clocks" or "Talk," but the album is their most intriguing and memorable. The results are a little less Phil Collins, a little more Peter Gabriel.

The highly digitized, nearly instrumental "Life In Technicolor" opens the album on a high note with sweeping Middle-Eastern instrumentation and loopy, buoyant beats. Immediately ascertainable is that this is not an album that can safely grace the intercom of the local ShopRite. With hand claps and frothy production values behind a droning, funereal organ, "Lost!" is a poignant, yearning ode to finding salvation and a new lease on life. Accented by just the right amount of electric guitar, the intriguing, atypical track not only rocks and invigorates but finds these talented musicians trying for something new and succeeding, underscoring the album's unexpectedly adventurous direction.

With its soul-searching sentiments and sizzling melody, chugging lead single "Viva La Vida" is the only track that oozes mainstream appeal with its sweeping, gorgeously evocative melody that has landed it at #1 on the Billboard pop charts. In that light, it is classic Coldplay and, amazingly, their first Top 5 hit. Even alternate lead single "Violet Hill," a Top 40 hit, defies radio programmers with its mercurial tempo and deep, adventurous lyrics. Singer Chris Martin, however, has never sounded more confident in his delivery, and the band's playing skills have never been demonstrated so impressively in-studio. These four guys sound truly in-sync, and rather than burying their sound Eno smartly accentuates it, bringing out the essence of the songs.

The plaintive "42" is another awesome outing. After 90 seconds of mellow piano and dark lyrics the song zooms into a succession of production swirls, fast melody swings and snazzy electric guitars. It is not only a marvel, but worth many listens. "Lovers In Japan" is also a winner with its sunny, bristly melody - the way Martin wraps his vocals around the proceedings is a pleasure to hear. The thunderous ode to peace that is "Death and All His Friends" is also a highlight as it closes the album before revealing a hidden track titled "The Escapist," a mellow finale set to the tune of "Life In Technicolor."

The men of Coldplay will likely lose fans who prize clear-cut ear candy over adventurousness, yet will surely gain respect from those who had previously written them off as creators of slick but predictable radio-savvy pop/rock. What's for sure, however, is that this is their most interesting outing to date.

The painting on the album covers is "Liberty Leading the People (La Liberté guidant le peuple)" by French artist Eugène Delacroix depicting the July Revolution of 1830.

3.5 Stars. I just want to to say to those who are giving this album one star is that you aren't listening to it enough. When I first heard the album I hated it. But I also can't agree with the rosy 5 star reviews that call this their best album yet. And that won't change over time either. Coldplay made this album in part because of some macho complex that kept telling them they are a girly band, Martin has a girly voice, and their music isn't all that serious. In other words, they made this album for critics. And the critics, to no surprise, love it.

I have liked every album Coldplay has put out and I will say that I don't think they have really made an atrocious song yet. That streak has come to an end. As I mentioned, I listened to this album straight through the first time and I did not care for it all. But being a fan and listening to other positive fan reviews I decided to keep listening. After this exercise, I have to say there are a few good songs on here, but this is not the complete album that Coldplay's previous efforts have produced. On those other albums I may occasionally skip one song. On this album, I find myself only listening frequently to a few. Here are my thoughts:

I want to say that I really like the first part of the album. Cemeteries of London is a good song. It has a great pace and catchy chorus in the refrain. I also absolutely love 42. It's probably the most familiar song Coldplay fans will find on this record. As for Lost! and Lovers in Japan, I like them, but I love! love! love! their acoustic versions better. It is kind of ironic that these acoustic versions sound much more like Coldplay than the regular tracks. With Lost!, perhaps it is that the piano, which I absolutely adore, lets this track shine and the lyrics and Martin's voice shine through. I don't think I have ever patently preferred an acoustic version of a song over the original until now. As for Lovers In Japan, I like both versions, but again, the acoustic brings out the lyrics better than the original.

The next part of the album is what I would call more experimental. Reign of Love is okay, but it lacks something that I can't quite pinpoint yet. Yes is very much experimental... sort of like A Whisper. What I don't like is Martin trying to change his voice. It sounds brooding and dark. I hate Chinese Sleep Chant.

Viva la Vida is one of the two singles getting air time. It is a great song. I think if it was placed earlier in the album it would probably play better. My head is still ringing from Chinese sleep chant. I think it could also use some piano. More Piano! More Cowbell!

Violet Hill, the main single, is okay. But again it feels out of place on the album. It also sounds like an 80's song I can't quite place. I think another reviewer referenced this. I like the song... but it just doesn't really sound like a Coldplay song.

Strawberry Swing... the concept and jingle is interesting, but is very poorly executed. Martin sounds like he is mumbling like a later Eddie Vedder. I also think it could use a more robust guitar. Something more akin to the guitar work in Green Eyes. It's a song worth listening to once to sample the band's experimentation, but I can easily see my self forgetting this song over time.

Death and all his friends... okay ending song. But again, you are kind of already asleep from Strawberry Swing to really get the effect of the intro. I would take it or leave it.

I get the sense that this album will most likely sound better live without all the extra layers of production Brian Eno felt the need to saddle this album with. The guy who produced Arcade Fire also worked on this album and it shows. I don't much care for Arcade Fire because while their music is interesting, it's also so layered and textured that it almost becomes an exercise in itself to listen to it. Many songs on this album require that similar exercise. I am glad Coldplay decided to break the mold a bit, even though I really liked X&Y. But I think they could have been experimental without abandoning their sound on much of the album. It seems almost like an imposter band is playing the music on some of this album because they were trying to make their sound more macho. I think they failed in this respect and also failed in staying true to their sound. The song Yes is the epitome of this effort. Coldplay needs to stop listening to producers and critics that are telling them to go this direction. It ignores the millions of fans that fell in love with their first three albums.

On a final note, I can't recommend to you enough to get the acoustic versions of Lost! and Lovers in Japan.