COLDPLAY
Viva La Vida or Death and All His Friends
(EMI) A+

I was going to write about this album and give it a separate entity in review form to the one I wrote for Forte Magazine.  But, in the end, I just got lazy liked the Forte one too much, I figured I’d just republish it here.  Exactly as it went to print last fortnight, here are my thoughts, track-by-track…

It’s hard to believe that a band with such an imprint on music and popular culture like Coldplay have only been releasing material for just over 10 years.  It was only 8 years ago that the band had their first proper hit single in this country, “Yellow.”  Little did anyone know that eight years later, a Coldplay album would be just as globally anticipated as the works of Pop and Rock & Roll’s biggest legends.

There are so many artists who lose their momentum by the release of a fourth album. On Coldplay’s fourth, not only do they surpass the brilliance of their previous work, the smash down all misconceptions held by those who feel they can’t work past that trademark stadium-rock sound they’ve championed over the years.  Experimental, refreshing, life-affirming and beautiful; Viva is a musical masterpiece.

LIFE IN TECHNICOLOR
A nearly-instrumental opener which, just after the 2 minute mark, subtlety (in fact, it’s almost not even there) brings in the distinguishable voice of Chris Martin woaah-oh-ohhhhh-ing in the background.

CEMETERIES OF LONDON
A folky number with exceptional structure; look out for that subtle chorus, the spikey middle 8, and the consistent double-hand-claps through out the song. The records first (of many) mentions of God. “I see God come in my garden, but I don’t know what he said, for my heart it wasn’t open/and the night over London lay/there’s no light over London today.”

LOST!
Clunky beats latching onto a heavenly approach which, with the added church organ, make this sound like it’s been ripped right out of the choir halls of Urban America.  Not the records strongest moment (lyrically it’s actually quite boring,) however it most definitely houses some spectacular production elements.

42
Imagine what Radiohead, The Doors and The Killers would sound like if they all collaborated.  Times that thought by about 10 and you’ve got yourself the delightfully schizophrenic “42”, one of the greatest moments on Viva.  The music fronted in the first 90 seconds is deceptively melancholic, but things take an exciting turn after the 1:40 mark; twisted, all-out-guitar warps which sounds like a modern-day version of The Doors performing live on a psychadelic acid-trip, before it all erupts into a proper, bonafide pop song in its last minute.  Martin sings “You thought you might be a ghost, you didn’t get to heaven but you made it close” atop of the most joyous musical piece they’ve ever put into the public spectrum.  A truly remarkable, career defining moment.  Note the return of double hand claps.

LOVERS IN JAPAN
This one sounds a little like La Rocca’s ace “Non Believer” from 2006; never a bad thing.  More importantly, it also sounds like classic Coldplay. Just when the listener may feel a little isolated by the experimentation of the first few tracks on the record, “Lovers In Japan” comes in to re-establish the fact that Coldplay are still more than capable of making stadium-stompers. You can just hear the club remix in your head, can’t you?

REIGN OF LOVE
Another of many god/prayer/religion referencing moments on La Vida, this is a tender piano-and-synth driven ballad which presents itself with elegance and grace.  Without sounding too morbid — no offence to the guys whatsoever — this is going to make a very powerful funeral track for someone one day.

YES
Martin begins the song in a lower register — another sign of the group continuing to move out of their comfort zone — before things ricochet into a blistering Middle-eastern-cum-Balkan-esque concoction of strings and beats.  Then, after the chorus, Coldplay go almost-country.  “I’ve become so tired of this lonely mess,” croons Martin, before takings things back to Nashville. Breathtaking.

CHINESE SLEEP CHANT
Interestingly, tagged onto the end of “Yes” making them the one track, “Chinese Sleep Chant” is what Coldplay may have recorded had they been around in Seattle during that big grungey musical boom of the early 90’s.  La Vida’s third best moment.

VIVA LA VIDA
The greatest Coldplay single to date? You bet.  The gradual build of this precious masterpiece is an absolute bonza affair; that bassline, that chorus, the heavenly harmony, those divine strings.  Forget any of your previous thoughts or misconceptions when it comes to Coldplay; if you already loved them it’s going to be evident that this is the most spectacular single they’ve thrown into the mix, and if you’re a non believer in the band then this song has more potential than any of their others to change your mind.  A serious contender for single of the year.

VIOLET HILL
A dramatic dose of rock with a demonic and heavily urgent chorus.  And what about that middle 8?  Pretty special.  In what could be interpreted as a lost or misguided plight for spirituality, Martin sings “Priests clutched onto bibles, hollowed out to fit their rifles, and the cross was held aloft, bury me in armour, when I’m dead and hit the ground/If you love, won’t you let me know?”  The albums first single and another example of the spectacular direction the band have taken their music to on this record.

STRAWBERRY SWING
An incredible love song, this is The Beatles, without actually being The Beatles. Whilst still sounding completely like Coldplay! Very good.  Also one of La Vida’s more positively approached songs; “It’s such a perfect day/wouldn’t wanna change a thing/now the sky could be blue, I don’t mind, without you it’s a waste of time.”  Awwww, Chris Martin + Gwenyth 4 LYF.

DEATH & ALL HIS FRIENDS/THE ESCAPIST
Exhilarating, powerful and poignant stuff, this is yet another career high for the boys, with lyrics that seem to argue the bands point with the world on history repeating itself. “No I don’t wanna battle from beginning to end, I don’t want a cycle of recycled revenge, I don’t wanna follow death and all his friends.”  Then there’s “The Escapist,” a hidden track tagged onto the end of “Death,” which takes the dreamy, instrumental album opener and turns it into a truly ethereal piece of musical perfection.  A stellar way to cap off the audio experience of Viva.

Van She stuffs coming this week.  If all goes to plan, should be a bit of fun to celebrate the release of their new single “Strangers.”