Review from a Ex-Coldplay Hater


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Coldplay - Viva la Vida or Death and All His Friends


3-Chord Wonders Broaden Their Horizons.
Johnny Firecloud, CraveOnline
June 10, 2008

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Through some logic beyond my cynical vision, the masses are rabid for this new Coldplay album. When the Yellow hitmakers released the first single Violet Hill as a free download on April 29th, 2 million people downloaded it in a week. The song is good, a promising indication of the band's evolution. So, still not swallowing the '50 million Elvis fans can't be wrong' pill, I downloaded the leak last night with skepticism on high.

See, I badly wanted to hate this album. I'm no fan of Coldplay, and had every intention of declaring instrumental electro-pop opener "Life In Technicolor" the best song on the record, for the simple fact that Chris Martin's pillowy melodic annoyance is mercifully absent. The entire thing could be a backing track for an old Death Cab For Cutie song, and that's really not a bad thing. But goddamnit, the 'oooh oooh''s around the two minute mark (which appear in more epic form three minutes into title track "Viva la Vida") are subtly and beautifully epic in a way that bands don't seem to know how to put together anymore.

Coldplay have apparently taken lessons in grandiosity this time around, with Martin setting out to explore a decidedly lower singing range and Jonny Buckland's guitar work taking on a more majestic tone than on any of their previous work. Electro wizard producer Brian Eno has helped the band build a surprisingly organic-sounding album with Viva la Vida or Death and All His Friends. It's full of shimmering synth meanderings, string sections and soaring piano movements that weave tightly with Martin's ruminative obsessions with duality (couldn't even decide on one name for the record), delivered in a much more evolved manner than I certainly wanted to give them credit for.

The haunting atmosphere intro to "Cemeteries of London" sets the tone for an impressive, rising sound with underlying tones of, uh, Riverdance? Buckland’s searing solo minimalism pierces the thick rhythmic fog while Martin lays a darker variation of the standard platinum-megnet melody, conducting a backup chorus that's eerie and Gaelic as well.

"Lost!" - Stomping handclaps and funked out church organs lend a gospel air to this one, building to a crescendo that's disappointingly lacking in mojo, and even reeks of Radiohead theft.

If you want to talk about rising sounds however, "42"'s a good place to start. Pensive piano chords are the backdrop to Martin's shotgun-in-the-mouth fagcore vocals, making for an underwhelming suicide theme song until about 90 seconds in when the pace changes and things pick up rapidly. That's when shit gets epic, bursting with energy and more of those fucking handclaps.

"Lovers in Japan" starts off with gleaming pianos in outer space before bursting into a galloping arena-pop piece that would serve as a great show-closer. The song takes you into the narrated moment, and it's a lot more heterosexual than the bonus acoustic version.

"Reign of Love" is a dreamy roll through heaven's flowerbeds, delicate and distant. There's a beauty to this song that truly threatens to make me a fan of this band, but Yes is wounded, middle-of-the-road and never really goes anywhere. Nice guitars, but otherwise skiptastic.

"Chinese Sleep Chant" is hazy, with lyrics you can't understand, but it's oddly hypnotic. Feels like staring out the window of a fast-moving train after breaking up with your girlfriend. But you did the breaking up, not her.

Are you sick of "Violet Hill" yet? Because it's going to be on all kinds of commercials and "Remember the 00's" compilations until nuclear armageddon hits.

"Strawberry Swing" is pretty and captivating in a light, Beatlesque kind of way, but it sticks to safe ground and feels half-hearted. No room for that if you're trying to make an epic album.

"Death and All His Friends" is another rising tide, and an impressive reminder that the band's live show will hit a new high with these songs. But after the wave crashes the song rolls back out to sea, allowing "The Escapist" to glide in on translucent wings to close the album with a reprise of the opener. Pretty pianos and pulsing synths give way to Martin singing And in the end/ We lie awake and we dream of making an escape, before the song lifts into the stratosphere.

On their fifth release, Coldplay occasionally veer perilously close to U2's turf ("Lovers in Japan," "42"), but they do so sparingly. My only real complaint here is the overall sense that Coldplay are trying to be all things to everybody with this record, and it results in a bipolar atmosphere that lacks a sense of direction. Are we celebrating life and spiritual evolution? Or mourning the cost of revolution? You never can quite tell.

Biased premonitions aside, however, Coldplay's fifth offering is unpretentious enough to take its name from a painting by Frida Kahlo (it translates to "live the life"), even though the cover art features the French painting Liberty Leading the People, which about as pretentious as they come (I told you the album was bipolar). It's good enough to satiate the devoted, and although it won't move mountains or part the seas, it's probably enough convert a good amount of new blood.

Overall, Viva La Vida or Death and All His Friends qualifies as an epic musical piece. it's an album by a band who's harnessed a winning formula and pushed it to a new level, adding some flair along the way.

Crave Online Rating: 7.8 out of 10
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Allmusic Review 4 out of 5 Stars

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When Coldplay sampled Kraftwerk on their third album, X&Y, it was a signifier for the British band, telegraphing their classicist good taste while signaling how they prefer the eternally hip to the truly adventurous; it was stylish window dressing for soft arena rock. Hiring Brian Eno to produce the bulk of their fourth album, Viva la Vida, is another matter entirely. Eno pushes them, not necessarily to experiment but rather to focus and refine, to not leave their comfort zone but to find some tremulous discomfort within it. In his hands, this most staid of bands looks to shake things up, albeit politely, but such good manners are so inherent to Coldplay's DNA that they remain courteous even when they experiment. With his big-budget production, Eno has a knack for amplifying an artist's personality, as he allows bands to be just as risky as they want to be -- which is quite a lot in the case of U2 and James and even Paul Simon, but not quite so much with Coldplay. And yet this gentle encouragement -- he's almost a kindly uncle giving his nephews permission to rummage through his study -- pays great dividends for Coldplay, as it winds up changing the specifics without altering the core. They wind up with the same self-styled grandiosity; they've just found a more interesting way to get to the same point.

Gone are Chris Martin's piano recitals and gone are the washes of meticulously majestic guitar, replaced by orchestrations of sound, sometimes literally consisting of strings but usually a tapestry of synthesizers, percussion, organs, electronics, and guitars that avoid playing riffs. Gone too are simpering schoolboy ballads like "Fix You," and along with them the soaring melodies designed to fill arenas. In fact, there are no insistent hooks to be found anywhere on Viva la Vida, and there are no clear singles in this collection of insinuatingly ingratiating songs. This reliance on elliptical melodies isn't off-putting -- alienation is alien to Coldplay -- and this is where Eno's guidance pays off, as he helps sculpt Viva la Vida to work as a musical whole, where there are long stretches of instrumentals and where only "Strawberry Swing," with its light, gently infectious melody and insistent rhythmic pulse, breaks from the album's appealingly meditative murk. Whatever iciness there is to the sound of Viva la Vida is warmed by Martin's voice, but the music is by design an heir to the earnest British art rock of '80s Peter Gabriel and U2 -- arty enough to convey sober intelligence without seeming snobby, the kind of album that deserves to take its title from Frida Kahlo and album art from Eugene Delacroix. That Delacroix painting depicts the French Revolution, so it does fit that Martin tones down his relentless self-obsession -- the songs aren't heavy on lyrics and some are shockingly written in character -- which is a development as welcome as the expanded sonic palette. Martin's refined writing topics may be outpaced by the band's guided adventure, but they're both indicative that Coldplay are desperate to not just strive for the title of great band -- a title they seem to believe that they're to the manor born -- but to actually burrow into the explorative work of creating music. And so the greatest thing Coldplay may have learned from Eno is his work ethic, as they demonstrate a focused concentration throughout this tight album -- it's only 47 minutes yet covers more ground than X&Y and arguably A Rush of Blood to the Head -- that turns Viva la Vida into something quietly satisfying.

phenomenal album.

My random pointless thoughts on the album..

The first (Living in Technicolor) and Final song (the escapist) make this album this a completely memorable experience... it's very uplifting and beautiful..

Cemeteries of London is a nice shift from the usual Coldplay sound.. Nice piano moments and a few dark melodies that bring the song to life.. nice way to start the album out.

Lost brings that classic coldplay formula back out.. it is the closest thing to X&Y, but actually has more textures than anything off that album. The general public will love it. The piano acoustic is actually better.

42 is interesting (hitchhikers guide galaxy shizznit) simply because of the 3 part shift.. a highlight for me.

Lovers in Japan - Beautiful jaunty song with old timey pianos rolling.. (The acoustic is amazing as well)..

Reign of Love - This song could have went on the full 17 minutes (that is actually how long the song was)... i wish i could have that version. The piano is simply beautiful. the simplicity, and delicate moments make this album special.

Yes - LOVE THE STRINGS.. It is a great track, however, it might be one of the first I will grow tired of.. but I like that it is a different territory for coldplay..

Chinese Sleep Chant - I love this indie rock sound.. it really serves as an instrumental, but i love this direction for coldplay

Viva La Vida - Another album highlight. Classic

Violent Hill - Nice song, but it is actually the song i listen to least

Strawberry Swing - Amazing song.. The best part of the song is around 2:37 minute mark.. for such an uplifting song, the chord changes bring some doubt and perhaps sadness to the mix, which in turn qualifies this for one of their best songs imo..

Death and all His Friends - Probably my favorite coldplay song.. Piano is brilliant, the emotional shift in the song.. I can't express what this song means to me..... (wipe tear)

The Escapist - Beautiful.. just beautiful


All in all.. I think one thing I could say is that Coldplay tried their hardest to please all areas with this album.. and usually that in turn makes a terrible album with no direction.. This album actually had some direction although it was meant to please everyone.

Well done you son of a bitches
[Edited 6/12/08 22:47pm]

Bloody great album. It may well be my favourite of theirs already.

Just dont get coldplay at all whining middle class slapheads.They make albums about how shit life is and then go back to their mansions. To me they have always been a very very poor mans radiohead.

rolling said:

what does this "smiley" mean? and why did you use it?

graecophilos said:

ITs supposed to be the emoticon for farting and I used it because there shit.

I think it's pretty obscene.

graecophilos said:

Well tell whoever made it on the org I just choose it but if you think thats pretty obscene you really should get out more.

what do you mean? get out more? you mean out of me, or out of the house and meeting people or what??
Yeah, I think such smileys shouldn't be used, it's obscene and offending!

graecophilos said:

Very much a classic coldplay fan always moaning about nothing a real bed wetter.

I guess you meant bad weather!

graecophilos said:

No I really meant bed wetter!!

I am irked by this band as much as I am bothered by the last 5 U2 albums.

They follow a similiar format in their song structures and melodies as U2, and to themselves.

I hated yellow years ago, and have yet to fully "get" why they are the rave.

I just don't buy it.

I find it boring, sterile, and easy to digest.

def not my cup of tea.

I will continue to pass on bands that stay in their comfort zone (u2 in the last 10 yrs, DMB, just to name a few.

aalloca said:

Well, I respect your opinion and all, but have you actually heard any of the new album? It's just odd to see a complaint about "comfort zone" when the general consensus is that they've ventured outside of it. It's cool if you disagree with that assessment, but it just came across as a random "I hate Coldplay" rant.

AlexdeParis said:

to be honest only 2 tracks.. I think viva and violet are getting play on satellite (sirius). both sound slightly more adventurous then prev singles, but I still am not feeling it. But they are taking over sirius for 10 days so I am sure I will hear more. Good Point.. I kind of was just ranting that I hate coldplay.. sorry

aalloca said:

Hey, don't worry about it. Nothing wrong with a good rant every now and then.

Ive never gotten the whole radiohead-coldplay thing except for the fact that both bands have been called greatest bands of all time after 1 or 2 albums. That being said that Coldplay chord progression can clearly be heard from the source Magne F .

Getting a total "One Tree Hill", Joshua Tree-era deep cut vibe from "Violet Hill", and as much as Coldplay's unoriginality usually grates, I can't help but really like the song.

I'm trying to argue with my principles and just realize that good music is good music.

Shit, I'm gonna end up buying the new Coldplay CD. Maybe I can justify it to myself because Eno is producing...

Here's my review from my blog:

This highly anticipated Brian Eno (U2) produced new album from these talented blokes is an excellent CD. I had already been impressed with their first single 'Violet Hill' and was looking forward to the groups 4th CD. I know they are looking to somewhat reinvent themselves by flying under Eno's wing and it works brilliantly at times. The first song that stuck out besides the first single was the title track 'Viva La Vida' which was used in a new iPod commercial. Exactly the type of sound we've come to expect from Coldplay - grandiose sonic energy and pop sensibility.

Their effort to branch out can definitely be heard with less verse-chorus-change ups used by Coldplay previously in favour of a more consistent structured song from start to finish. Songs as '42' that has a brooding sound with a Beatles like Lennon 'Imagine' sound before changing into an uptempo folk like song. 'Yes' is just a cool-ass song with a cool low baritone from Martin in a lyrically interesting and country twang that creates the hook. Also, according to an MTV report from Martin. "Everyone was complaining to us about people not buying albums, so we thought maybe the reason people don't want to buy music is because there's not enough value for money. So we tried to add a bit of value [with the hidden track, "Chinese Sleep Chant"]. It's as simple as that" A brilliant twist. Sort of like a built in B-side! People will want these as two separate songs and deservedly so.

Other standouts include 'Strawberry Swing' which includes a cameo from Mr. Eno who according to Martin from the MTV report "If you listen very closely, you can hear him complaining about the tempo at the beginning of that song. [In a booming Brian Eno voice] "Oh, that's much too fast." Funny and cool...listen its there. Eno and the boys turn it up a notch on the final track with an amazing journey of a song clocking in at 6:18 that changes directions so many times it makes ya dizzy! Going from a piano ballad into a slow rocking Meatloaf sound into a Pepsi like chant with an incredible hook that is mesmerizing! The song ends with what appears to be a reprise until you hear the lyrics for a portion of the first song on the CD - Life In Technicolor - clever...

This CD will have alot of mixed reviews but for me its just what the Summer '08 needs and definitely one of the best of 2008!!! 9.5 outta 10

i always wanna like them and be "in on it" but whenever i listen i think, "what's the big deal? they rip off radiohead and u2 left and right." i should just get over that, right? i mean, i like radiohead and u2. a lot. so shouldn't i like a band that successfully rips them off?

Heads up

Best buy has Viva La Vida on Record for 14 dollars this week. (YES VINYL!!) and there is a CD with they vinyl also!!


grab this.. heck of a deal

Sdldawn said:

thanks for the info - cool news indeed!

I'm sure the fine people over at Gap love this shit.

PurpleKnight said:

co-sign

I am glad to have the silver back... cause now reign of love, chinese sleep chant and the escapist is its own individual track!

Dance said:

Do you hate everything? You really need a hug.

PurpleKnight said:

Yes, he does. Dance is a character.

Coldplay is a band I definitely don't love, but I like them. I'm looking forward to checking this new record out and while I wasn't blown away by Violet Hill, i liked it enough and am glad to hear them moving to new places sonically.





[Edited 6/18/08 11:55am]