Review: Coldplay's Viva La Vida

As if Coldplay wasn’t already big enough. Millions upon millions of their albums have been snatched up by adoring fans since their 2000 debut, they have performed in sold-out arenas in countries most people have never considered visiting and, to top it all off, now star in a ubiquitous (and oh-so-trippy) iTunes commercial.

With three critically-acclaimed records under their collective belt, Chris Martin, Guy Berryman, Will Champion and Jonny Buckland didn’t have to do much tweaking to ensure themselves another multi-platinum-selling release. The lazy, everyday musician would’ve surely kept cooking with the same winning recipe, catapulted back to the top of the charts and -- voila! -- continued raking in the cash.

Thankfully for their fans, and surely their sanity, these guys are better than that.

The quartet from the UK, perhaps driven by a “we don’t want to keep churning out the same old stuff” attitude, summoned the aid of successful producer Brian Eno, the man behind nearly half of U2’s catalogue (including Achtung Baby and Zooropa, albums that “re-defined” the Irish rockers between the end of the 80s and the beginning of the over-the-top 90s).

What exactly Eno brought to the table in terms of overall influence -- and decision-making clout -- is hard to say. It’s quite obvious, however, that Viva La Vida -- Coldplay’s fourth studio release -- will undoubtedly re-affirm the band’s position as one of the most popular on the planet.

With their long-awaited follow-up to 2004’s X&Y, Martin & Co. do not hesitate to think outside the box on more than a few tracks, which is at times both refreshing and thought-provoking. At the risk of abandoning their previously-successful formula -- which, for the record, they most definitely did not do here -- they seem to reach within themselves (and surely Eno) in an attempt to channel a deeper, more intense sound.

Tribal-like percussion was added on “Lost,” Asian-influenced strings on “Yes” and a strong, almost choir-like vocal presence on “Death And All His Friends.” With these additions come a more inspired collection, and while these and others could’ve overshadowed the band’s core sound, the tracks that they accompany could’ve easily been featured on previous releases.

It’s pretty cliché to say that a band has “matured,” but unfortunately, most of the time it’s rather appropriate. Coldplay continue to do what they’ve done best since they gave the world Parachutes, but to fulfill their need to develop as artists, they’ve stepped it up a notch. The final result in Viva La Vida is pure, unadulterated alternative rock from start to finish, even at its most mellow... which, let’s be honest, is when Coldplay is at its finest.


Below are thoughts on each track:

“Life In Technicolor” -- Take an increasingly-audible piano and organ melody to start things off in the key of Sigur Ros, introduce a Robert Smith-inspired guitar track, throw in an anthemic drum beat and you’ve got a pretty impressive intro track.

“Cemeteries of London” -- The title itself invokes a dark image, and with Chris Martin’s haunting voice over a very subtle piano and bass, the first lyrics of the record are introduced:

At night they would go walking
Til the breaking of the day
The morning is for sleeping
Through the dark streets they go searching
To see God in their own way
Save the nighttime for your weeping

In typical Coldplay fashion, a seemingly-melancholy song turns quickly with the introduction of a strong drum track after the aforementioned vocals. The rest of the song, while still lyrically darker than most of their previous work, does well to set the tone for the rest of the album with its brisk pace and unexpected exit.

“Lost” -- Every once in a while, a band will surprise you with something a bit different. A strong, percussion-based track with straight-forward (yet powerful) lyrics and great four-part harmonies, “Lost” is perhaps the second-best track on Viva La Vida and one that has grown on me with each listen. As Martin begins the second verse, you can’t help but wonder what he may be hinting at:

You might be a big fish in a little pond
Doesn’t mean you’ve won
Cause there’ll only come a bigger one
And you’ll be lost

It’s quite obvious that being the “big fish” is metaphoric for something, but what? Is it the band’s place in the current world of music, knowing that perhaps they are taking over where U2 will eventually leave off, only to be surpassed by another up-and-coming group 10 or 15 years from now? Or is it about something entirely different, perhaps speaking generally to those who think they are better than everyone else? I would assume it’s the latter, but I will also assume that the band knows just how big they actually are (and seriously, isn’t the former a much more interesting -- although very unrealistic -- interpretation?).

“42” -- The simplest song on the album lyrically, “42” makes up for its lack of complexity in vocals with a healthy dose of solid instrumental choreography. Right before the halfway point, it drops the repetitious, hypnotic sound of the first two minutes and reveals a Radiohead-inspired, almost jam-like quality, only to come back down and finish on a softer note for the final 20 seconds.

“Lovers in Japan / Reign of Love” -- In my opinion, the strongest track on the album and arguably the most complete song the band has ever produced. The first half, “Lovers in Japan,” begins with an infectious guitar progression, rolling drum track and steady bassline. Quality lyrics and impressive overall composition make it an instant classic, one that rivals “Shiver” as the band’s most pure effort and one you might’ve heard during “Lunch at the Archives” on WHFS if it still existed.

The second half, “Reign of Love,” is a short-and-sweet ballad that may remind fans of “See You Soon,” a studio b-side that also made its way onto the band’s Live 2003 CD. While “See You Soon” was a rather simple guitar- and vocals-driven track, “Reign of Love” relies heavily on Martin’s piano and Berryman’s bass, creating a deeper sound, both literally and figuratively.

“Yes” -- In another departure from the band’s past, “Yes” dives into something more experimental than the typical Coldplay fare. The aforementioned strings are dominant from the start -- and especially so just before each chorus -- but they stop just short of being too much. Strong, deep vocals carry the tune, and its inclusion on the record does well considering its place (sandwiched between what I think is the strongest track and the album’s first single).

“Viva La Vida” -- If you haven’t heard parts or all of this track yet, you either a) never listen to the radio, b) never watch TV or c) live under a rock, in which case you probably aren’t reading this. And since we’ve established that you’ve most likely heard it, you’d be foolish to argue the band’s ability to market themselves well.

Like “Speed of Sound,” the title track of Coldplay’s latest release has a chorus so damn catchy and crank-able that you can’t help but appreciate it for what it is. Enjoy it while it lasts, however, as you can all but guarantee that, if there’s a candidate for mainstream overplaying, it’s this. In other words, you’ll be sick of it come September.

“Violet Hill” -- Available as an official free download about 6 weeks ago, this was the first track I heard from Viva La Vida. As a fan of the band since 2001 and someone who anticipates each new release with very high expectations, I tend to be overly critical and rely strongly on the first impression. Fortunately, “Violet Hill” sat very well after that first listen and continues to do so in the context of the rest of the album. With its distortion-filled electric guitar, it continues along the same theme, ratcheting up the complexity of what could be an otherwise standard Coldplay track.

“Strawberry Swing” -- One thing that continuously pops up throughout Viva La Vida is a more stripped-down drum track, which is never more evident than on “Strawberry Swing.” Much like Larry Mullen Jr.’s pounding of a single bass drum during the latest live version of “Desire,” Champion provides a steady, pulsating beat to an otherwise heartfelt, almost happy-go-lucky song. Only when Martin’s acoustic guitar kicks in for the final third, however, does the song seem complete, finishing with a perfect balance of vocals and instrumentation.

“Death And All His Friends” -- If life has taught me anything, it’s that you always have to finish strong. When the final track of Viva La Vida begins, you get the notion that the album will slowly fizzle out and fade away into the distance. After a not-so-brief introduction of soft vocals and an even softer piano track, “Death And All His Friends” kicks into high gear, culminating in a fully-orchestrated exit accompanied by choir-like vocals, a fitting end to the band’s most complete effort.