Record label: EMI Records
Our Rating: 4/5
Coldplay have developed and evolved with each of their four albums and this one is no different. This album has been billed as their experimental record with frontman Chris Martin’s growing popularity on every album he’s penning.
The album’s tracks have floated with images of War, God, Religion and Death.This might just go down as a benchmark album and we might also see a flagship revival of progressive-rock-pop culture to the musical mainstream.
The album opens with an anthem “Life In Technicolour”, an instrumental riff that is suffused with the ambience of a Persian instrument or the Indian santur, while also utilising guitar sounds suspiciously like a world music churner. It’s got a subtle piano opening which builds up real summer sound and then ends with reprises afterwards.
The next track “Cemeteries Of London” has vaporous lyrics and a good tune with substance. The song syndicates a ghostly modern music feeling with an upbeat chorus voicing over in between. Chris Martin’s hollowed vocals are overwhelming and bring out a certain pace with a whole tangy beat to its flow. This song has some good musical points but the lyrics gradually die down in the end.
Arguably, the album’s best pop moment opens up with “Lost”. The song builds on a simple church-organ riffle, a kick drum and some hand claps to a rhythmically soaring cutting edge guitar solo. The lyrical verse of Martin ‘You might be a big fish in a little pond’ addressing pain or yearning for hope is outstanding. For first timers, this might sound like a church ballad but believe me, the simplicity of the words can shine off your ego.
“42” gives me the impression that it’s the old Coldplay at work with Martin going solo on the piano for the first minute or so. The lyrics are soft and sensitive, which merge with a psychedelic aggressive guitar distortion. This song flirts on the line of U2 who many critics think have a lot of similarities with their rousing style. The song subtly touches three different melodies in there, the closest that the band has ever come to U2 in instrumental effect.
The track “Lovers in Japan/Reign of Love” symphony’s a new tune, with the drums, guitars and a piano in a galloping run together. The latter half of the tune descends into balladry but thicks up the traditional Coldplay sound just enough to keep things interesting. Uncharacteristic, thanks to some clam vibrating electronics laid over a twinkling piano which syncs it as multi-sectioned song.”Yes” is a stadium rocking song with a bit of progressive and experimental tendencies knit in. Again, we have two songs back to back with multiple parts. The latter half is clear evidence that Coldplay can be a fascinating band when it chooses to be one. The lyrics are lost in a wash of guitars and effects, stripping them of their most accessible weapon, and burying their evergreen wishy-washy lyrics. Instead, the song fashions out melodies of distortion beats.
The album’s current and omnipresent single “Viva La Vida” gives a feeling of buoyancy filled with triumphant strings, flashes of twinkling electronics, a toe-tapping beat and all sorts of Biblical references to remind everyone that it’s one simple and memorable melody to tap on.
“Violet Hill” starts as a lengthy ambient introduction and then brings an electrifying jolt to the striking piano melody with Martin adding a twinkle-pop flare with his lyrics. It takes you into a battle fantasy zone with soft piano notes picking up time to time. By far, this would be the most aggressive cut made by Martin in terms of vocals.
The pinking melody of “Strawberry Swing” reminds one of a Roman cavalry cry.It’s slightly 60s influenced track gives a feeling of romance and love.This song would mesmerize all lovers with its soft Arabic acoustic string notes. This is the kind of song one would love to end the album with.
“Death and All His Friends” is the last track of the album and instantly gives you a hallmark reminder of Bono’s (U2) classic work. The lyrics are clich©d and the track takes time to build into a rhythmic swank. The opening is all vocal and piano but the song eventually builds to a stomping piano and a guitar thump with some additions of a thrilling keyboard effect to it.
The song then dissolves into an ambient showcase begging one for more, a nice tune to end your dinner party with.
Viva La Vida is an epic album with some brilliant experimental work. It definitely makes some departures from the band’s usual formula. Although vastly different than all its previous albums, it delivers on all fronts with some truly brilliant songs.
