Coldplay Viva La Vida Album Review
New CD, 'Viva La Vida,' Has Coldplay Reigning Supreme
Jun 20, 2008
With a title like Viva La Vida or Death and All His Friends, attention was likely not hard to attract to Coldplay’s 4th studio album. Then again, Coldplay’s repertoire has touched millions and received substantial critical acclaim, prompting them to be propelled into the spotlight as one of today’s biggest bands; thus, a high level of media attention around their new album was expected. Released on June 17, the album embodies grand symbols of religion, politics and death but remains, ironically, ear-friendly.
Call It Experimental, But It’s Good
As much as lead singer Chris Martin would perhaps cringe at the terminology, Viva la Vida is experimental at its core. The band has somewhat abandoned their power piano for an album tripped up on grand violin lines and use of aggressive guitar riffs. Though exploring different sounds on a new album is ever the slippery slope, bassist Guy Berryman, guitarist Jonny Buckland, drummer Will Champion, and Martin have executed their fresh sound with precision by still keeping inklings of Coldplay alive. Viva la Vida is still Coldplay, so a few tracings of the band’s signature sound still remain on this ten track album.
A Morbid Streak
Coldplay made no hesitation in establishing a theme for Viva la Vida. Lyrics of the album suggest something mystic, images of death, and the eerie crevices of religion. Nothing too faint or light is covered by Martin’s voice. He sings of sordid priests, corruption of the media, politics, and jaded kings of old.
Martin even takes a stab at Fox News with the line “the fox became God,” in “Violet Hill,” the first guitar-driven single of the album. The somewhat sinister selection for song material does not brand Viva la Vida or Death and All His Friends as an album totally filled with somber songs, however. “Strawberry Swing” is wistful and reminiscent of perhaps the freedom of childhood while “Lovers In Japan/Reign of Love,” also helps to lighten the mood and tone.
Hello, Hello…Coldplay or U2?
Even the most casual fan of either/or Coldplay or U2 can spot some substantial similarities between a few tracks on Viva la Vida and The Unforgettable Fire-era U2. Coldplay have somewhat adapted that certain very U2 sound to this album. Songs on Viva la Vida like “Yes,” and the mystical “Lost!” float through different melodies in one song--very U2. But with Brain Eno taking the role of producer for Viva, U2 similarities were a bit expected.
A quaint tune about lovers running away together, “Loves in Japan/Reign of Love,” has traces of early new wave British bands in the earlier bit of the song. The six-minute wonder then morphs into a simple rumbling piano melody, with Martin’s breathy voice gracing over the rest of the track.
The Final Word
Coldplay have opened up a bag of new tricks and have molded Viva la Vida or Death and All His Friends with a new sound. More guitar, more edge, more variety then their previous works. Something different, and it meshes well with Martin singing about politics and religion instead of yearning for love.
The album concludes with “Death and All His Friends,” a lush piano tune about a couple making “their escape.” Martin and company have certainly made their musical escape from their expected sound and artfully honed their craft with their new CD.
