On Viva, Martin is interested in a world larger than his own. Even more remarkable is how he manages to write about the world without his extracurricular activist efforts becoming the central focus. Maybe the master, Mr. Bono, could learn a thing or two from his student. Incidentally, I'm not the first person to drop the word "student" on Coldplay. Liam Gallagher beat me to the punch on that one in a hilarious tirade a few years back. Sorry, I know I keep jumping around. We're going to get back to Coldplay and Viva.
Maybe Martin is a happier, more stable person. Maybe he knows he'll get crucified if he tries writing a self-denigrating, moping record about not getting the girl when he's married to Gwyneth Paltrow and has two beautiful, healthy children. Maybe he just started reading better books.
The songs on Viva rely more on texture than traditional structure and favor ambiance over melody. While the whole thing is over in 47 minutes, many of the songs such seem to have sequels, segues, and multiple parts; it's like old school Metallica at about 1/8 the speed.
The U2 influences begin early. The instrumental "Life in Technicolor" feels like The Edge's guitar intro to "Where The Streets Have No Name," with "Cemeteries" feeling like the song proper. You'd swear The Edge is singing backing vocals on the fantastic "Cemeteries of London." The two pieces don't add up to the equal "Streets," but it's a fantastic way to open the album.
"42" begins like Parachutes-era Coldplay, one of the few pieces of music pairing Martin's falsetto with a piano, but that's not where it ends. The melancholy dirge plods as additional instruments are slowly introduced, and then a swell of strings and synthesizers abruptly divert it in an unexpected direction. "Lovers in Japan/Reign Of Love" works in just the opposite direction with "Lovers" playing like an update of vintage Simple Minds, an almost anthem that never fully takes flight, before giving way to the gentle "Reign of Love."
Article comments
1 - Glen Boyd
Nice job on this Josh, although you can rest assured that you are not alone in your dismissal of X&Y. I actually liked that record, but you'd be hard pressed to find many others who will admit to it. The truth is that the backlash on Coldplay had been quietly building for awhile, but with that record it more or less went nuclear.
Outside of that, I pretty much 100% agree with everything you say here. These guys are wearing their U2 jones on their sleeves here, and seem to be quite proud of it. The record also really grows on you with repeated listens. If this is the direction Martin and company are going to be headed from here on out, count me on board for the ride.
-Glen
2 - Josh Hathaway
Thanks, Glen. I thought I was the only one who disliked X&Y. I guess not.
It took me awhile to get the feel of Viva, but the repeated listens have paid off and obviously I do like it. Some albums are immediate, but many of the great ones require more time spent with them.
3 - Donald Gibson
I wasn't big on X&Y until I saw Coldplay in concert -- hearing them play "Kingdom Come" "Swallowed in the Sea" in particular -- that made me reconsider the album in a far more positive light.
I'm still trying to wrap my head around the new album. I want to enjoy it, but the penny isn't clicking yet. I'm not the biggest fan of producers who shape albums to their signature preferences and sounds. I think the producer should render the the best performance and intentions out of the artist, not utilize the artist as a means to express his own vision. And so far, that's what this album feels like to me: Eno molding Coldplay into a sonic direction of his liking.
4 - Glen Boyd
I kind of agree with Donald, at least in a general sense, when it comes to producers molding artists in their image, when it should work the other way around. However, in this case, I get the distinct impression that Coldplay wanted to make a U2 record, which is why they sought out Eno in the first place. I think they got exactly the sound they were seeking.
-Glen
5 - charlie
I'll take your word on the U2 influence on the new album - after all Brian Eno produced it - but having not heard anything but the first single "Violet Hill" and the title track, I have yet to hear it. I'm guessing that the U2 influence is more musically-based than vocal-based (as opposed to say, Remy Zero's "Save Me," which was both). I hope it just shows up on a couple of songs, because a good band like this should be careful not to overstate their influences. (I will listen to the whole album soon enough)
Seems mostly everybody has something nice to say about the new Coldplay for a change, so good for them. Is it too early to name Coldplay comeback artist of the year? Based on those first two singles alone, they've got my nomination.
6 - Josh Hathaway
I'm not a big fan of heavyhanded producers myself, which guys like T-Bone Burnett and Daniel Lanois can sometimes be. I think Glen is right though about what Coldplay was aiming for. Chris Martin's entire shtick has a very Bono-esque feel and Coldplay's X&Y tour was a poor man's Vertigo tour. Viva was another step in that direction.
I don't think Eno took Coldplay anywhere they didn't already want to go and it's not like we couldn't have seen this coming starting with all the great anthems on A Rush Of Blood, which they did without Eno. The largest progression in the band's brief history is the leap from Parachutes to Rush. From their, they've been refining their ambitions rather than taking huge risks/leaps. I think this is the band they've aspired to be.
7 - Josh Hathaway
Comeback Artist of the Year is going to have to be Portishead. It took them ten years and Third is an unbelievable record.
Were it not for Portishead, I'd be inclined to say Counting Crows are my comeback artist of the year but Coldplay deserves consideration as well.
8 - mal
i'd say it's less of a U2 influence and more of a Brian Eno influence. listen to his recorded work and the artists that he has produced and you'll see a theme.
9 - Mark Saleski
Chris Martin's entire shtick has a very Bono-esque feel and Coldplay's X&Y tour was a poor man's Vertigo tour.
Martin's voice has always struck me as combining the worst elements of Bono and Thom Yorke.
icky, is what it is.
comebody get me the icepick.
10 - Brian aka Guppusmaximus
Yea... I could never understand the appeal with Coldplay outside the overly apparent U2 influence.
It's been present since their break in the mainstream.
I, personally, think they are mediocre & not that talented at best. Hell, that's 95% of what is popular nowadays, so who am I to judge?!
BUT..U2's recent releases haven't been any good either.
11 - Tom Johnson
I'm stunned at how much I like this album. Unlike you, I never really liked them much, but there's some genuinely great stuff going on here. I've listened to this WAY more than I ever thought I would listen to a Coldplay album.
I was afraid that teaming with Eno would result in an overly earnest, defiantly anthemic over-correction.
I was excited for the exact opposite reason - anthemic is exactly not what Eno does. He humbles bands into doing what's right for the music and right for them. This is a band that need the anthemic humbled right out of them, and Eno did about as good a job as was possible.
"Lovers" playing like an update of vintage Simple Minds
I still say it's 100% pure James - give "Ring A Bell" from Seven a listen. Give the whole album a listen. So good.
12 - Stephanie Kanthadai
love it
13 - Andy
More sissy boy whining from coldgay, the only thing they rule is the cock!
14 - Ryan
Um. X&Y was amazing. There is nothing about Viva la Vida that sounds anything like U2. I love Coldplay but I can't listen to U2. They are so different.
15 - JB
Personally, I saw Parachutes as being a good debut album. They didn't do a bad job on it and some of the songs are still widely popular (like Shiver and Yellow). A Rush of Blood to the Head was excellent, bringing Clocks, Scientist and the title track into the mix, as well as the rest. X&Y wasn't bad. While some of the songs are easily dismissable, White Shadows, Speed of Sound and Twisted Logic stand out to me as being great songs. I also liked Fix You but I can see (as mentioned in the article) why people wouldn't like it.
Viva la Vida brings entirely new sounds onto the table. 'Yes' was good because we got to hear Chris' lowest register, which he performed superbly, but none of the other songs were easily dismissable, like in the past albums. The entire album was excellent, even if you haven't heard Prospekt's March yet.