Everything's Not Lost

Chris Martin has got to be one of the luckiest men on the planet. Not because he's got Gwyneth wrapped around his finger. Or even because Steve Jobs happens to be on his speed dial. The reason why Mr. Martin is a giant amongst men in my book is because he has somehow turned Coldplay (perhaps the most average band ever) into the most marketable rock act in the world. And let's just call a spade a spade. These guys aren't particularly exceptional musicians, and Martin has hardly got a decent set of pipes. Nevertheless, with the exception of maybe U2, there is no band that is as universally celebrated than Coldplay. And sure, naysayers have tried taking a stab or two at these guys (just watch 40 Year-Old Virgin), but nothing seems to manhandle this mainstream rock machine. So when I heard that the band's new record was going to be as pretentiously titled as Viva La Vida Or Death And All His Friends, I was sure as hell that this was going to be Coldplay's tipping point. And I'll admit that I wanted these guys to fall flat on these faces, simply because this band can't even hold a candle to the boatload of anonymous artists who are more deserving of praise.

But even I know when to concede an argument. Because, to be completely honest, Viva La Vida is without a doubt Coldplay's best work to date. And yes, as much as it pains me to say this, this is in fact a great album by anyone's standards. Clocking in at a mere 45 minutes, the record is jam-packed with obsessive orchestration, beautiful guitar hooks, and contrasting complexity that is worthy of its bombastic title. And it doesn't take a scholar to realize that Viva's fast-slow-fast tempo pattern changes go hand-in-hand with the album's overarching theme of life's dualities. From the opening notes of instrumental beauty "Life In Technicolor," it is evident that Coldplay has opted to kick things off on a positive note (I am 100% sure that this song will be the intro during the band's upcoming tour). And despite dreary undertones, the deceptively titled "Cemeteries of London" happens to also be a pretty upbeat song chock full of handclaps and sing-along choruses. The prolific percussion continues into the slower church-organ filled "Lost!" -- a tune that is reminiscent of some of the slower material off A Rush of Blood To The Head. Things start to get very interesting during the violin and piano-laden "42," which seemingly transitions into a completely different song midway through. At around 1:35, morose violins morph into fast bass, as a little life gets breathed into this one.

Coldplay's progression is most apparent on "Lovers In Japan/Reign of Love" -- the album's most elaborate cut. Producer Brian Eno's influence is made apparent by the song's atmospheric electronic background affects and wall-of-sound layered guitars that make this one awfully U2-sounding. But don't be fooled; this one also pulls a 180, as it eventually reprises the solemn piano from part one of the previous song. But wait, there's more. The next track "Yes" starts off as what is easily Viva's weakest song before returning to the distorted guitar complexity of "Lovers." Yikes. Between all of the rearranging and tempo changes it is at times difficult to figure out when one track ends and another begins. But alas, thanks to those incessant iTunes TV spots, we finally stumble on some familiar ground with the catchy title track "Viva La Vida," the band's most radio-friendly single to date. This tune segues into the equally recognizable "Violet Hill" -- yet another build-up song that takes advantage of Eno's knowhow. We get one more optimistic, dreamy gem in "Strawberry Swing" before the disc's grand finale opus in the ominously titled "Death and All His Friends." As morbid as this song appears, Martin and crew throw us a curveball in what is one of the more upbeat tracks on Viva La Vida.

The thing that I find most admirable about Coldplay is their willingness to not get comfortable in making this album. After what was considered to be a lackluster follow-up to the acclaimed Rush of Blood, the band still managed to sell millions of copies of 2005's X&Y. Rather than settling in with their bankable mediocrity as so many one trick ponies have done, Coldplay took the high road to meticulously create one of the year's surprises. For me, this band is back on the radar, and who knows, if they maintain this consistency on future albums, maybe I'll actually root for them.

My Rating: 8.0/10