HT&E Review: Coldplay - Viva la Vida or Death and All His Friends

What happens when you lose a trademark and gain a world music influence? You release your fourth album called Viva la Vida or Death and All His Friends, if you're Coldplay.

The trademark is Chris Martin's falsetto which, while not non-existent, is toned down significantly with a far deeper range displayed by the front man. Tracks like Cemeteries of London and Yes are a true departure from previously pitched-up power ballads like Fix You, In My Place and Trouble. The introduction of a more international vibe is likely the result of touring locations as far flung as Chile and Argentina during early production of the album. What you're left with is the power of Coldplay's original trilogy of albums yet enhanced by arrangements that tower at their climax and whisper at their softest moments. The tampering with the original formula wont upset the Coldplay fan, however. The crowd-wowing, stadium-filling choruses are still here. The sense of grandeur in both lyrics and sonic style prevail. It's understood that the band have recorded parts in churches during the build-up to this album's release - an indicator of its political tone or a way to truly understand the magnitude required to enhance an arena sound? Possibly a mix of both.

"In a potentially calculated move, the band and singer have switched roles for this album, with Martin's lyrics fighting larger battles than his own psyche"

In a potentially calculated move, the band and singer have switched roles for this album, with Martin's lyrics fighting larger battles than his own psyche and Buckland, Berryman and Champion exploring themselves through the music they create. The influence of Brian Eno is, without doubt, a positive not only for the band's sound but for its development. Tracks like Lovers in Japan/Reign of Love could have easily been resurrected B-Sides from The Joshua Tree and Cemeteries of London could have sampled The Edge's guitar sections, but in no way could any song on Viva la Vida be deemed a U2 "tribute". Coldplay still know how to write their own songs, make their mark and keep them unique. Chris Martin is, however, being ushered in as the heir to Bono's throne, through activism and political subject matter. Alongside his extra-Coldplay Oxfam support, lingering suggestion of war, peace and uprising are scattered throughout this ten-track outing. Unfortunately, it's unclear just what all the shouting is about at the end of the record.

"War, peace and uprising are scattered throughout this ten-track outing. Unfortunately, it's unclear just what all the shouting is about at the end of the record"

Once again, the word "influence" rears its head as a selection of instrument and styles, most notably the middle-eastern origin of the santur making its way past traditional piano and organ parts on the opening track, Life In Technicolor. The cross, kings, priests and even locusts haunt the lyrics throughout Viva la Vida yet it's still a mystery by the conclusion of the closing track, The Escapist, an aural equivalent of a post-credit sequence that seduces the listener from their suspended disbelief and back into the real world, on which side the voice of the album stands. Essentially, Viva la Vida offers up the hallmarks of a blockbuster; conflict, peace, despair and love but as it fades to black you're left hoping that there will soon be a sequel to pick up where this album left off.

"Coldplay are stepping out of "this is our song, honey" territory and into the weighty world of rock history"

What isn't apparent here by comparison to previous albums is the immediate connection to the listener with every song. Viva la Vida, like the character in its title track, has its highs and its lows and the band isn't going to suck in the girlies or fringe members of the emo crowd with this offering - but that's not a bad thing. This is the experimentation stage, the broadening of what was already pretty broad and there's much to be taken away by members either side of the record label. Lost!, undoubtedly a coming single, also harks back to classic U2 and is the best of everything we (the listener) and they (the band) have learnt this time around. Everything you've come to expect from Coldplay at their best, just one louder. While right now it seems the band is a little too aware of what makes a concert track rock, Coldplay are stepping out of "this is our song, honey" territory and into the weighty world of rock history. How they deal with things from here, like with the critical savaging of X&Y, will shape their destiny. This is in no way a bad album but it's still just a proof of concept. It's a case of transitioning a humble London outfit into true hall of fame stardom material. Clarity, focus and yet more arena anthems are coming.

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