15 of 18 people found the following review helpful:
'V' for Victorious
Been a long time fan of Coldplay, their albums often seemed to add up to much more than the sum of all the parts, you would usually find that the commercial success they got from the individual singles wasn't much - what I mean is they hadn't ever reached a number 1 single in the UK however their albums always sold loads and were the sort of albums you could find yourself...
51 of 79 people found the following review helpful:
'the most anticipated album of the year'
I'm hoping this will be a genuinely helpful review as I feel like I've been through it all with Coldplay. I was a fan of their first album initially; Chris Martin has always had a way with a tune and there was something honest about the way he stomped down that beach and sang out at the top of his lungs that it was 'all yellow', but familiarity bred apathy which was then...
Been a long time fan of Coldplay, their albums often seemed to add up to much more than the sum of all the parts, you would usually find that the commercial success they got from the individual singles wasn't much - what I mean is they hadn't ever reached a number 1 single in the UK however their albums always sold loads and were the sort of albums you could find yourself playing years later at Bar-B-Ques. So when I saw that the songs released from this album unusually had done particularly well in the charts (I think Viva la Vida hit No 1) my initial thought was that maybe the band had gone a little mainstream and decided to get some pop chart success?
Either way, I bought the album and listened eagerly to what Chris Martin claimed would "Be the album people remember them by"
At first glance I was a little taken back by the ten-tracks that were on offer, I mean it had been three years since X&Y, I expected a few more, but on listening a few of the title tracks there are infact a couple of extra songs, classed as `hidden' bolted onto the end of tracks 5, 6 & 10 following 20 seconds of silence - why they done this I don't know.
So in keeping with it taking them their standard 3 years per album to make, I whacked it on in the car on the way to work and sadly was quite under-whelmed. The first track was a throwaway instrumental and most of the lyrics I was hearing throughout the songs were simple to say the least. I listened to it again on the way back from work and had pretty much written it off as a disappointment. Gutted.
I once saw Gwyneth in an interview say that Chris is one of the most talented poets of our generation...I think she must be looking at those lyrics through a pair of Versace rose coloured glasses based on some of this stuff I was hearing - not much depth, but on the other hand you got to give it to him, they're catchy, which is pretty much the highlight for me in most of the songs - they have great intro's, interestingly different instruments beating out a foot tapping rhythm and generally all consisting of a melodic ooohhh laaa la laayy or a la la la layee and such, but Martins voice is so well suited to this you wouldn't want anything else.
Following my initial disappointment as I mentioned, a funny thing happened...I started hearing the songs a few more times on the radio and saw that live performance they did outside the BBC studios and that album grew on me faster than a cold sore in winter. Now all I have to say about it following this are positive things, from the ace `Lost' onto the overplayed Violet Hill this really is a well produced effort - probably because it came from Brian Eno but none the less it's great.
I hear that there were a few songs left over from this album that they're going to stick in the next one - probably due in another three years time which I think is a bit of a shame because it is a little short like I say, but other than that expect to hear these ballads ringing in episodes of the OC and major Hollywood rom-coms for years to come - that's the calibre of what's in this gatefold digi-pack. Go enjoyeee ye la la la la layee...
Given there are 10 listed tracks on this one, going back to my sum of all parts balony; I would give it 11 out 10.
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Unfortunately, when bands like Coldplay become a worldwide phenomenen, it becomes fashionable to slag them off. I'm not a huge Coldplay fan (I prefer Radiohead) but I do appreciate that they make quality music. Having listened to the album about 5 or 6 times, as well as accompanying my wife to the free gig at Brixton last night, I can honestly say that the album is great (I prefer it to the "safer" X&Y). The new songs are also impressive live and slip neatly into their live set. Songs such as Lost, 42 and Viva La Vida are as good as anything they have recorded before. The whole album is more of a gradual grower than X&Y, which isn't a bad thing at all. It has a more laid-back approach as well, but virtually all the songs have their highlights. Don't be fooled by the people who say this is a new Coldplay - it still sounds like Coldplay. The reviewers who slag off Coldplay just because they sell millions of records really need to grow up. I'm the type of person who reviews the music for what it is.....obviously if you really don't like the music that Coldplay make, then that's fine.....
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Despite what the pretentious 'Peelites' might say about the new Coldplay album,like its forerunners,it's a nice blend of melodic, Indie melancholia. Catchy riffs,rasping drums and soaring vocals before it's ratcheted back down to plodding piano chords,sombre organs and swirling synths then.... hey ho it's off we go again with an up tempo anthem or two.
Unlike their many pretenders like Athlete and Snow Patrol, Coldplay actually do the tuneful Indie pop thing very well. Consistently consistent you might say.
Indeed some tracks are as stirring as anything heard previously on X & Y, Rush of Blood or Parachutes.
Unfortunately Coldplay no longer appear to get objective reviews anymore. Even so called serious reviewers like The Independent's Andy Gill fall over themselves to pour scorn on the band. Picking up on everything from the name of Chris Martin's child to the charities they support...pathetic!
Listen up and don't let the negativity weigh you down and you will like what you hear I'm sure.
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This is the album the band wants to be remembered by and it looks like they have achieved just that.
The opening song ,Life in Technicolour has a great melody and no lyrics. you can notice the hand of Brian Eno who produced it ,is an innovative song hintting of a new direction in the band's style. It sounds like a fragment from Joshua tree.
Cemeteries of London is the best track in the album and will remind you of parachutes, this is when coldplay are at its best and the voice of Chris Martin suits the music very well.
Lovers in Japan is a brilliant song with the same backing guitars and drums as One by U2 and is very fresh and optimistic track. Perhaps is one of the most progressive in the album.
Reign of Love is a hidden track and is a nice simple slow song with Chris's voice a some background piano and guitars ,reminds of everything's not lost and should have been a stand out track on its own , this is the second best song on the album.
Yes Chinese sleep chant is a bit of an experiment with multiple influences and weird sounds (oriental strings , eastern percussion) to the lyrics ,is not one to buy the album for.
Viva la vida sound a bit like Viva las Vegas , fresh and uplifting with plenty of guitars and is a possible single that will do well as it has some catchy lyrics. However it does not sound anything like the early coldplay material and is the most comertial track of the album, already used in a itunes comertial.
The first single Violent Hill is available to download for free on their website before the album release and is full of guitars everywhere, is a somewhat commercial song and is going straight to number one on the charts.Stars slow and picks up the pace to break into full electric guitar mode and strong lyrics.
Strawberry swing has a delightful intro with some happy notes and is one of the brightest songs in the album and has a lot of feel good factor about it.
Death and all his friends is a mellow chilled slow song to finish the album , a far more simple than the singles and with more acustic guitars a reminder of the origens of the band , until the electric guitars kick in and turns into a more upbeat song with some catchy lyrics. There is a hidden track "The Escapist " at the end, Chris sings softly and slowly to some dreamy guitars and violins , it will make you think you are floating in a cloud.
The acustic version of Lost could be something out of the second part of parachutes and will delight the fans of the most melancholic symphonies of the band mixed with some " sounds of world " drums , reflecting the eclectic influences in this album.
Some people might find a great difference in styles from Parachutes to Viva la vida but that is being progressive is all about , the only problem with this album is that is overproduced with many instruments being played at the same time , unlike Parachutes with a bit of acutic guitar and a piano.
Overall a great album and will be a contendant for album of the year .Personally I much prefer Parachutes but I am happy to give 5 stars although this is not perfect .Time will tell...
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It's funny that people have given mixed reviews of this album. I think this is probably the first time that Coldplay have really flexed their muscles. I have no doubt that Chris Martin and Co could have churned out another X&Y, but instead they have removed themselves from the comfort zone of piano ballad/anthems and the result is nothing short of impressive.
I love albums as a whole - and that's why I don't think I'll ever end up buying into downloading music instead of CDs - and this is an album for that. It's made to be listened to from beginning to end, with the songs linking together, sometimes two tracks in one, sometimes echoes of previous tracks returning. That doesn't stop the album containing some fabulous songs - notably the two singles, the Oasis-esque Violet Hill and the magical, sweeping Viva La Vida, which I think could be argued is Coldplay's finest ever track for its complete lyrics, interesting arrangement, catchy chorus and sweeping verses.
The album starts and finishes in style, with a beautiful and bouncy instrumental opener, and, in Death And All His Friends, the album's closer, we have Coldplay's answer to I Am The Resurrection.
People will criticise Coldplay for this album - it won't be to everyone's taste - but it is an album they wanted to make. It is enjoyable, full of good songs, and a great listen as a whole. And it is Coldplay earning their pay - thinking about their music, developing it, developing their live shows and their back-catalogue. Their real problem is that so many people like them, and for many different reasons.
We all, in some ways, think that Coldplay are a bit like us. I've missed them, and I'm really, really glad they're back.
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It must be tough to be a band as successful as Coldplay where so many reviews of a new album focus on the personality of the band's singer rather than on the music itself. Although their fame will guarantee lots of sales and interest in their work, I'm sure that Coldplay, as a band, would probably welcome the same quietly-respected stature of the magnificent Elbow but at least Chris Martin has attempted to make the most of his fame by highlighting and supporting worthy causes close to his heart - something he is, bizarrely, derided for more often than praised. What a strange world we live in.
Having said that, I have to admit that I wasn't particularly chomping at the bit to hear this album, primarily because of how disappointed I was with the almost offensively average 'X & Y', especially lyrically. However, some of the pre-release information and interviews gave me the impression that Coldplay, with the assistance of Brian Eno, were making a conscious effort to evolve which, I decided, could only be a good thing. It was with this knowledge that I bought and tentatively listened to 'Viva La Vida', whilst trying to clear my mind of any previous knowledge of their music. If ever there was a time to try to objectively listen to a Coldplay album, it is now.
Like an old-fashioned (and yet very contemporary-sounding) overture, the instrumental 'Life In Technicolor' opens the album and sets the scene, as the synth intro fades in and the sound gradually expands - the first of the Eno trademarks to feature on this album. When the drums kick in, it's a genuinely euphoric moment and it's a very good choice for a first track. It segues into 'Cemeteries Of London', an swirling, atmospheric song resplendent with stirring rhythmic handclaps and a memorable choral refrain. So far, a very solid and impressive start to the album. The third track, 'Lost!' provides - at first - the first slight lull in the album until towards the end of the song, during the "I'm just waiting 'til the shine wears off" refrain, when the sound suddenly gets bigger and, before you realise it, you've been hooked. A grower and a subtly brilliant track.
Next comes one of the album's highlights, '42' (surely a 'Hitchhiker's Guide To The Galaxy' reference). It begins with Chris' sombre vocals backed by piano only and then, with a gentle, swelling string accompaniment, it builds into a melancholic, chills-down-the-back-of-the-neck piece of soul-massaging beauty as the lyrics vaguely contemplate the meaning of life ("Time is so short and I'm sure/there must be something more")... and that's just the start of the track. '42' is, in fact, a song of three sections, the second being an exciting instrumental bridge with a great synthesised string sound which Chris then effectively mimics with his voice, leading into the third section which boasts a storming musical motif and a genuinely-rousing use of the drums and percussion. The song then concludes with a one line signature from the first part of the composition - absolutely brilliant and one of Coldplay's finest moments to date.
'Lovers Of Japan/Reign Of Love' a two-part song (as the title suggests) is, unfortunately, less impressive and not a fraction as interesting as the song it follows - the first part, in particular, lacks musical direction and a discernible melody and is only redeemed, in part, by the mellow, tender 'Reign Of Love' section of the track. Fortunately, the album's quality control is then restored by the brilliant 'Yes', which has a middle-eastern flavoured musical feel as well as a couple of killer lines ("but night makes a fool of us in daylight" and "God knows I'm trying my best/but I'm just so tired of this loneliness"). For me, 'Yes' is an instant classic and it concludes with an up-tempo instrumental/choral jam which, although officially part of the track, sounds like a completely different piece of music.
The reverb-laden, staccato strings which announce the beginning of title-song, 'Viva La Vida' are a classy introduction to a classy, epic-sounding song written from the perspective of a once-great leader. The lyrics suggest, to me, as if Martin may be speaking about the hubris of some of our present or recent leaders - in an allegorical sense, of course. Like much of his lyrics, they are certainly open to interpretation, but one thing is for certain, this is a magnificent-sounding song, boosted by soaring strings and dramatic timpani. The next song and the choice for first single, 'Violet Hill', was a song I resisted hearing until I heard it in context, as a part of the album's whole and, being a very moody, brooding and yet foot-tappingly catchy song, it sounds wonderful - I'm glad I waited.
Until now, I have resisted the temptation to make reference or draw comparisons with any of Coldplay's previous work, but with 'Strawberry Swing', I can't not. Parts of it remind me heavily of a reworked, up-tempo 'The Scientist'. It's a rather lovely song, especially towards the end, but I have a feeling that I have heard it before in another form. The album draws to an end with 'Death And All His Friends', another decent song with the quiet start/big finish before we're then played out by an instrumental reprise of 'Life In Technicolor', concluding the album with a dignified whisper rather than a bang.
Forget the fact that this is Coldplay. This album stands alone as a great piece of work and needs no comparison or point of reference to shine. If you expect 'Viva La Vida' to be similar to any of Coldplay's other album then you are setting yourself up to be disappointed - it is an accomplished piece of work in its own right. Approach this collection of songs with an open mind, with little or no pre-conceptions of Coldplay's work, give it at least three or four listens (through good quality headphones, ideally), let some of the songs sink in and then appreciate the subtleties which raise this album from the ordinary listen it may appear to be at first to the largely extraordinary piece of work it really is.
Is this album a masterpiece? Well, to be honest, I think that may be going a step too far. I certainly believe that 'Viva La Vida' is a rival to 'Parachutes' and 'Rush Of Blood To The Head' as Coldplay's best album and, certainly, it contains a handful of songs which are amongst the best that the band have ever written, but there are a couple of tracks which fall short of being classics and they do, regrettably, lower the overall impact of the album overall. Still, I'm giving this album a five star review because, in accordance with amazon's criteria for five stars, I really do love it. It is a truly wonderful, atmospheric listen which gets better every time you play it and, although I'm not the biggest Coldplay fan, they have made an album which has greatly increased my admiration of their work and restored my faith in their obvious ability and creativity.
Highly recommended and a definite contender for album of the year.
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know everybody who approaches this album will have a few things in their mind. If you are a dire hard fan of a particular Coldplay album, its probably easier to compare tracks to past albums.
For 'Parachutes'fans, you are looking for more chilled out acoustic sound, which you see glimpses of in Strawberry Swing and Death & All His Friends. Strawberry Swing has a real summer sound, clearly the group were looking for a more throwaway upbeat feel to the song. It's no single, but then it never makes any pretentions to be so.
'Death And All His Friends' however leans towards the Parachutes track 'Everything's Not Lost'. It's a subtle piano opening which builds and reaches its eventual crescendo and then reprises the opening track 'Life In Technicolor'.
The second set of people will be those who judge the album against 'A Rush Of Blood To The Head'. Those fans will be looking for songs with a more political edge whilst embracing a more pop sound. Tracks such as Lost!, a gospel bundle of joy which catches you unaware with church organs and hand clapping in large supply. It's in my opinion Coldplay's version of 'I Still Haven't Found What I Am Looking For' by U2. Ironic, as the albums producer is one Brian Eno, producer of the U2 album which 'Still Haven't Found' comes from.
The track follows the more ghostly 'Cemeteries Of London' which leans on a more eery opening, conguring up images of a misty graveyard walks coupled with a double hand clap drum beat.
Another track, '42' has by far one of the best lines i've ever heard in an album; 'those who are dead are not dead, there just living inside my head'. As you can tell from the line, the track deals with the theme of death, and is very downbeat for the first two minutes before drums and another killer guitar rift kicks and the second half of the song takes over, with Chris Martin indicating that the subject matter thought they would become a ghost and they made it just short of heaven. Again, the theme of the album is two parts to most of the tracks, with '42' being the perfect example, rounding off the song as it began with a more downbeat piano and string section.
For those X&Y fans (which includes me) you are going to instantly be drawn to the likes of Lovers In Japan/Reign Of Love which is just crying out for a stadium to try and contain its upbeat catchy sound. The high tempo piano rift which runs through the track is catchy as hell and the guitars have been treated to an echo feel, leaving the listener with one of the rare songs that could be considered for single release.
The other X&Y moment is 'Yes', which is by far my favorite track. The song opens with a stealth orchestral snippet followed by Chris Martin taking on his lowest octive vocal ever. You then get a quick burst of arabian strings before more of his low octive singing and slide guitar. Trust me, its a corker and includes a double back drum beat which you find yourself tapping along to long after the song is finished. Yes is followed by the secret song 'Chinese Sleeping Chant' which is all big guitars and upbeat tempo, but the vocals have been minipulated, so you can't quite work out what they are singing....again, superb.
The remaining tracks still maintain the quality. The opening 'Life In Technicolor' builds and builds and is so X&Y its painful, but just as the vocals are about to kick in the song finishes...so frustrating.
Viva La Vida has already been offered to the world via the current I-Tunes, and is an epic orchestrial moment describing the downfall of royalty, and is a particular highlight of the album. It's Coldplay doing BIG and they pull it off well.
Violet Hill, the first single on its own didn't really in my view stand up well compared to previous singles. However, when placed in the context of the album overall, the song sounds more polished, with a great guitar rift and continues the milatary theme.
To sum this album up is simple. If you are looking for singles, they are clearly hard to find. Coldplay clearly decided they wanted to create an album, not just four or five singles and then fillers. It is a change of direction, but at the same time, they haven't lost their sound completely. It just sounds like a group who want to give their songs a chance to breath and grow, and from a dire hard 'X&Y' fan, i think they have done that, and convinced me at least that this is their most complete album to date. Roll on the tour dates!
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This album is what I've been waiting for from Coldplay. I was worried they were going to smash out another album of ballads with piano tinkles and a high pitched aaaaaah's. That would have been it for me. But, fear not. They have instead made me eat my words because Viva has amazed me. It has masterful pace. At times its Hans Zimmer soundtrack, then its U2 stadium filler, then its 70's Floyd. And it all sits so well together and as a Coldplay album.
The first good sign was that I didnt like it immediately. Worryingly, there seem to be people reviewing it after 2 listens. Songs here are more epic than pop rock. And I fail to see how a fan of the previous albums cant enjoy it. Brian Eno has taken them to a place beyond the charts. The samples and instrumentals on this album are what were needed all along. That ambience is no longer left solely to Chris Martin and his piano. I love the last track fading back into the first.
Oh, and one last thing... play it loud.
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I'm hoping this will be a genuinely helpful review as I feel like I've been through it all with Coldplay. I was a fan of their first album initially; Chris Martin has always had a way with a tune and there was something honest about the way he stomped down that beach and sang out at the top of his lungs that it was 'all yellow', but familiarity bred apathy which was then replaced by some admiration for the follow up Rush Of Blood To The Head. Then it all went horribly wrong with the third album which seemed to show up the dodgy lyrics and pretensions, all of which was compounded by a miserable night I spent at Crystal Palace watching the band play at being stadium rockers as rain fell on the crowd and soaked us through. I hadn't minded the rain when Interpol, the support that night, were playing but something told me that the person having the most fun that night was Martin himself. Now that he's one half of a Hollywood couple with children with appropriately silly names and has taken to wearing quasi-military fashion reminiscent of Wacko Jacko how seriously are we supposed to be taking him? I think I prefer the gangly youth on the beach.
But none of that really matters does it? It's all about the music and if some people are to be believed this album marks a new beginning for the band. Brian Eno has been recruited for production and the epic nature of things is flagged up before you even listen to the CD with the Delacroix painting on the front cover daubed with the slogan in white (which itself references Frida Kahlo). The opening track is an instrumental which builds the atmosphere nicely before Cemeteries Of London gets proceedings under way with a chantable chorus and a sound not dissimilar to U2 but it builds nicely. My big worry with Coldplay is the lyrics and the next two tracks set my alarm bells ringing. Lost! has big organs and handclaps as Martin lets us know that 'Just because I'm losing/Doesn't mean I'm lost' the kind of portentous musings that have that worrying whiff of adolescent poetry. 42 begins the same 'Those who are dead are not dead/They're just living in my head/And since I fell for that spell/I am living there as well'. Rhyming dictionary anyone? But it is a nice tune which is taken into a really exciting area by the atonal guitars which take over halfway through and reminded me of Radiohead.
Elsewhere on the album there are some interesting musical flourishes like Arabic strings on Yes (which features Martin singing in new lower register) and African sounding guitars on Strawberry Swing as well as some rock solid anthems which will no doubt follow as singles. But this is far from a truly new musical direction. The first single Violet Hill may be deeper, darker and heavier than some of their previous work but they always seem to be reaching for a big sound to fill the next stadium without necessarily backing it up with lyrics that justify the bombast. Either way the 'most anticipated album of the year' is here and it's not bad at all. In places it's really quite good. Just remember to take your waterproofs if you're planning to see them live.
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My third Coldplay album, in my opinion easily the weakest and really a big disappointment given the hype. It's No.1 in the charts thanks mainly to the PR work and 'because it's Coldplay', not on actual merit; they may have sold 30 million albums to date but they are past their peak. They make relentlessly inoffensive music, sing about nothing much in particular in a very cliché-d way and generally look utterly unremarkable. Little in the way of cutting-edge presence, and a shortage of raw passion. Most repellent about the new album are the absurd lyrics which tend to be stuffed with non sequiturs and the worst kind of existential wisdom. What's it all about? Is this what Chris Martin means by writing music that is supposed to represent 21st century life?
There's nothing here to get within a mile of 'Clocks' or 'Yellow' of years gone by. It's just...nothing much. Coldplay have (deliberately, I assume) toned down the anthemic style that made them what they are today, but what that means is that they lose one of their best selling points. Instead they have dressed this album up in a sense of retarded musical exotica with banjos, dulcimers, timpani and male voice choirs - but this isn't what we wanted and it quite simply isn't what they're good at. It's more celtic rock than anything with a Latin identity; all of the passion and instinctive genius that they displayed so convincingly with their first couple of albums has now all but gone, to be replaced by something that smacks of working too hard to come up with messages that ought to be relevant in some contemporary way. "Those who are dead are not dead, they're just living in my head" Chris Martin sings, and I have to say that all he is doing is over-intellectualising something that doesn't fit with my impression of what his band used to do so well. This album is full of pretentious, highbrow lyrics that they have probably spent the greatest amount of time creating while the actual music is no longer the students-jamming-in-their-parents-garage natural purity that I know they were once capable of. I like the cover artwork though, with the title Viva la Vida being taken (in name only) from a painting by 20th century Mexican artist Frida Kahlo, and the artwork itself is the painting Liberty Leading the People by French painter Eugène Delacroix, commemorating the July Revolution of 1830. Death and all his friends? They'll be bored to death. Don't waste your money unless you're a die-hard Coldplay devotee, and even these will eventually come around to acknowledging that this is bettered by all of their previous albums.
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