Fuzzy Bits:
Release Date: June 17
Last Album: X&Y (2005)
Sounds Like: A much improved album that is quite possibly one of the most enjoyable Coldplay releases.
Overall Rating: 90
With Brian Eno on board for production, it’s obvious that Coldplay is finally wearing their U2-influenced heart on their sleeves. This is evident from the gorgeous opener “Life in Technicolor,” which builds ever so organically into a triumphant instrumental piece. It all seems very familiar, but yet, Coldplay performs the material with such great conviction that you can’t help but become enamored with the music. That is largely the theme that can be found on Viva La Vida, as you can certainly play a game of “that sounds exactly like…” on every track (and on some occasions, you can play that game on different increments of said track), but the music is so damned enjoyable it doesn’t make much difference. While “Cemeteries in London” and “Lost!” make for an awkward transition out of the starting gate, although the latter is a fine song on its own merit– just out of place, Viva La Vida picks up from there and never looks back.
The Air/Radiohead-esque “42″ is mesmerizing in its simplistic beauty and recalls an intimacy that Coldplay hasn’t displayed since Parachutes before breaking out into an all-out anthem.
The two longer songs, “Lovers in Japan/Reign of Love” and “Yes” both serve as epic centerpieces for Viva La Vida’s larger than life image. The former song is another exercise in triumphant songwriting that somehow doesn’t feel too forced and breaks off into another lovely, lush piano-centered piece. “Yes,” on the other hand shows off the lower register of frontman Chris Martin’s range– a surprisingly welcome experience, particularly with it being offset by the highly rhythmic strings, guitars and percussion. The second movement, if you will, of “Yes” is pure shoegaze and the band does almost too good of a job impersonating My Bloody Valentine (which is a good thing, because if you have to rip off a band, MBV is a pretty good place to start).
The most familiar tracks, “Viva La Vida” and “Violet Hill” surprisingly fit in perfectly on the album and aren’t nearly as overbearing as they appeared to be as individual singles. Both songs are exquisitely well done, even if the title track was infused with more than a few shades of U2 and Arcade Fire. “Violet Hill” is stunning, especially with the bittersweet refrain and somber closing. “Strawberry Swing” romps along with a carefree bounce before leading to the closing “Death and All His Friends,” which boasts an chorus that’s sure to be chanted at all future Coldplay concerts.
While Coldplay will continue to feel the brunt of bitter reviewers everywhere for aping U2 (or any other reason for that matter), hiring Brian Eno as producer was possibly the best thing the band could have done. Never before has the band appeared as focused and driven as they were on this record. Viva La Vida may not be the hands down best album of their career, but it’s definitely close.
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