Music Review: Coldplay - Viva La Vida (or Death And All His Friends)
Published June 20, 2008
I think the first time I really became aware of the band Coldplay was with the song "Clocks."
I was vaguely aware of who they were before that, of course. The song "Yellow" from the band's debut album Parachutes was one of those cloying, annoying sort of songs that once heard, you just couldn't get it out of your head. This at the time was not a good thing at all as far as I was concerned.
On the other hand, how on earth could you deny a song like "Clocks"?
I had no idea whatsoever what all the words about "shoot an arrow through my head" and "a tigers trying to be tamed" actually meant (insert your favorite over-analytical music critic joke here). But with that ridiculously catchy piano riff, I also didn't really care. Add to that the sort of irresistible bass line that Chris Squire himself would be proud to call his own, and I was all but sold.
Whiny Chris Martin falsetto vocals aside, I decided right then and there that Coldplay was for real.
And while were on the subject of those whiny vocals, let's address that right here and now. Because like it or not, they were always there, okay? If Chris Martin, as both a singer and songwriter, is a guy who is somewhat, okay, in touch with his more "feminine side" in some of Coldplay's songs, so be it. It's not exactly like this is some sort of brand new revelation.
Yet somewhere in between the band's second (and still best) record, A Rush Of Blood To The Head, and right before they legitimately became one of the biggest bands on the planet with 2005's X&Y, everybody seemed to realize this — and simultaneously recoil from it in horror — all at once. This is about the point where the jokes took hold about fans admitting to liking Coldplay being either female, gay, or maybe even both.
My personal theory on that resulting backlash is that it had as much to do with the fact that Coldplay got enormously big rather quickly, as it did with the criticisms most often leveled at the band. Legitimate as many of those may be — including the aforementioned whiny vocals, and the often overblown (and overwrought) arena rock production of X&Y — it's not like any of these minor annoyances were things we didn't already know.
I mean, correct me if I'm wrong here.
Even so, I'm sure none of this went unnoticed by the band themselves. To that effect, the just released Viva La Vida (or Death And All His Friends) seems to be Coldplay's attempt to fend off said backlash, and regain back some of their original critical mettle.
Not that Viva La Vida isn't without its fair share of pretensions. There's that damn title for starters. Add to that the fact, that retaining a producer like Brian Eno practically guarantees comparisons to U2, as Eno's very name conjures visions of the atmospheric soundscapes of Joshua Tree and the like.
Still, for the most part I think this album works. And at times, it works amazingly well.
- Music Review: Coldplay - Viva La Vida (or Death And All His Friends)
- Published: June 20, 2008
- Type: Review
- Section: Music
- Filed Under: Review, Music: Rock, Music: Pop, Music: Adult Alternative
- Writer: Glen Boyd
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When someone who has turned me on to many great bands over the years gave me Coldplay's first album and told me I'd love it, I thought he was nuts after giving it a few listens. I haven't recovered from that moment yet.
So excited to get this.
My first Coldplay experience was actually seeing them at the Commodore Ballroom here in Vancouver as they were promoting Parachutes. Small...TINY...show with maybe a thousand people packed on to the Ballroom's legendary bouncy floor and Martin was going mad as though he was playing for tens of thousands. Bloody amazing show and I've been a fan ever since.
Seemingly a few seconds later they were playing packed arena shows.
Aside from "The Scientist" (and, really, more due to Aimee Mann's cover of it on her deluxe version of Lost In Space,) I haven't really taken to much of anything Coldplay did in the past. I have to admit that I'm quite taken with this album and I would never have expected it. I blame it on Eno.
And James is surely the inspiration for the "Lovers in Japan" portion of that two-part track - every bit of that is pure James, the shuffling beat, the romping piano, and Martin's phrasing is exactly like Tim Booth's. All it needs is some trumpet.
That's my issue with this band - I'm not convinced I'm listening to Coldplay, I'm still feel like I'm listening "Coldplay Takes On The Classics." But they do it really well, and this time they've actually made a really, really interesting album that I can actually play again and again and not get bored of. But is that Coldplay at work or Eno? I suspect it's Eno, unfortunately, but only time will tell - if they opt to not work with Eno in the future. U2 has proven they can turn out great stuff without Eno, James has proven they can turn out great stuff without Eno. Let's see Coldplay prove it. I'm actually rooting for them.
When did reviewers stop listening to the music? It makres you wonder when you read what people say about Coldplay's Viva La Vida. There are so many comments on titles, geeky Chris Martin and derivatives I found myself thinking I was reading a financial report. I thought this was about "popular music"? If so surely the important thing is whether you enjoyed the experience of listening to the music and whether it created an emotional response. Thats why I listen to music...what about the rest of the general public? Incidentally This is the best music and lyrics Coldplay have written!
I agree that this album is Coldplay's best work so far. There isn't a track I don't love, and there are very few records one can say that about.
The music is complex without being gratingly experimental. One needs to fire up a few brain cells in order to appreciate it, which is a good sign that it won't be getting stale any time soon. (Always a problem for me with songs I initially love and then get bored with after a few listens.)
As Glen noted, the band took a risk going outside their comfort zone, and it's paid off.
Looking forward to seeing them live in San Jose in a couple of weeks.
Ross,
I did in fact listen to the Coldplay CD (many, many times in fact), although I'm not so sure you read my entire review.
If you did, you'd see that in fact I liked this CD quite a bit. While the U2/Eno comparisons should be obvious to anyone listening, I still am quite happy to otherwise see Martin and company branching out, and otherwise breaking out of the mold that made them stars.
But then, you'd know that if you read the review...
-Glen
Glen,
I wasn't just commenting on your review and I did read it all. I had read many reviews before I got to yours. I think your review was fair and interesting but your 'faint praise' is nearly as bad no praise at all.
I think the album is so good I want to encourage people to listen to it, not put them off. Personally I don't think their latest effort sounds at all like U2...though I confess their earlier albums did and X & Y was ordinary. In the end it doesn't matter to me who they may sound like, as long I get pleasure from listening to it and its not an obvious take off.
Add your comment, speak your mind
(Or ping: http://blogcritics.org/mt/tb/78191)
On the other hand, how on earth could you deny a song like "Clocks"?
it's really easy. i start with a cringe and then just go from there.
ok, not quite truthful. i do like "Clocks"...it's just everything else they do that i can't stand.