Review - Viva La Vida

Artist: Coldplay
Album: Viva La Vida or Death and All His Friends
Record Label: Parlophone, Capitol Records
Producer(s): Brian Eno, Markus Dravs, Rik Simpson, Jon Hopkins
Release Date: June 17, 2008
Genre: Rock
Strong Points: Lyrics are once again strong; beautiful sonic soundscapes; moves away from the predominantly piano-based sound of past albums
Weak Points: Album feels too short
Technical Score: A
Artistic Score: A+
Final Score (not an average): A-
Moral Warnings: One song details a struggle with lust (Yes)


Sometimes a change in producers can change everything. After all, look what it did to Metallica: after staying with producer Bob Rock for years, the seminal metal band produced St. Anger, which was critically derided for moving to a more alt-metal, post-grunge sound. Or look what happened to Johnny Cash. His series of American records, the last in his career, were produced by Rick Rubin, and brought a more intimate view of the Man in Black to the public’s consciousness. A producer can ruin an album or bring it out of the gutter. Which is why when Brian Eno signed up to produce Coldplay’s latest, most that were familiar with his work knew that things would change.

Eno has produced some of the most acclaimed records of the past twenty-five years, including U2’s amazing albums, The Joshua Tree and The Unforgettable Fire, as well as the Talking Heads’ seminal Remain in Light and David Bowie’s foray into industrial rock, Outside. He’s also quite the accomplished ambient electronic artist, and that experience translates to his production for mainstream rock albums quite smoothly.

Under Eno’s watchful eye, the Oxford boys are back with an album that is harder, more epic sounding, and less introspective than before. Guitars are more of a focal point in Viva La Vida, and, although this is the case, that doesn’t mean that the band has abandoned the piano. Instead, wisely, they’ve chosen to use the instrument less as a focal point and more for rhythm, which means that Coldplay finally sounds like a band. Shocking, I know. Guitar solos are actually present in several songs, surrounded by swirling synth and string arrangements. In other words, you’re not going to find “Clocks” or “The Scientist” here, which is a very good thing.

Viva La Vida begins with “Life in Technicolor,” an instrumental track that seamlessly fits in with the end of the album. It showcases both angular guitars (reminiscent of U2’s The Edge, as all the guitars are on the album) and the synth sounds that the album uses to full effect. This is largely how songs on the album go: enveloping soundscapes combined with an excellent hook and no lack of poetic lyrics, which, this time, don’t succumb to lead singer Chris Martin’s obsessive introspection. Songs tackle subjects like politics, love, war, and God, but none of it is necessarily literal; instead, most songs are metaphorical in nature, and highly so, as if Martin wants the listener to speculate what’s behind the figurative mask that he wears.

As the album progresses, listeners are treated to “Lost!” a song that sounds necessarily hopeful despite the bleakness of its lyrics: “Just because I’m losing/Doesn’t mean that I’m lost.” These words amid claps, stomps, and a church organ. Later, “42” laments that “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.” Surrounded by a wall of sound, Martin speculates, saying, “Time is short/And I’m sure there’s something more.”

The sixth track on Viva La Vida, “Yes,” is easily my favorite on the album. This is largely due to the sound, which ventures away from a “typical” Coldplay sound, preferring instead to stray into a more Eastern-tinged sound, with words sung down low, into the chest voice, instead of in the trademark falsetto that Martin is known for. This is the one song on the album that feels intensely personal, almost like reading a page from Martin’s diary. “Yes” speaks of struggles with lust, and abstinence, in particular: “There we were dying of frustration/Saying, “Lord, lead me not into temptation”/But it’s not easy when she turns you on…” Yet there is no resolution to this song, only Martin saying, “God knows I’m trying my best.”

Lead single “Violet Hill” is another highlight, with pianos leading off the proceedings, followed by a hard guitar crunch that carries through the rest of the song and into a solo. Martin’s voice is mixed into the forefront, saying, “If you love me/Won’t you let me know?” This is, by far, one of the least “pop-like” singles that Coldplay has released and it reveals an interesting direction for the band. On the opposite end of that spectrum is second single and one-half-of-the-title track “Viva La Vida,” which opens with a catchy synth arrangement and a pounding drum, a song that either talks of being in love (if you take it as a metaphor) or being a king during the Crusades (if you take it literally). The song is catchy and radio-ready, and that’s really okay for a Coldplay song. With this song, at least, they’re doing something different with their sound, and not falling into repetition like they did on X&Y.

For all of the analyzing that I could do of the individual tracks, the fact of the matter is that Coldplay’s newest is a highly enjoyable, listenable album. The entire thing is good. It’s not at all hard to get into, and it shows that the band knew that they had to experiment and more fully embrace the source of their influences than they had before. In this respect, Viva La Vida is an absolute triumph. No, this isn’t Radiohead’s OK Computer, and it isn’t U2’s The Joshua Tree, but it’s close. The only question is, will Coldplay be able to duplicate the same success on their next album? Time will tell. For now, Coldplay has recorded the best album of their career and one that leaves the listener wanting more.

Album Highlights:
Lost!
Yes
Violet Hill
Strawberry Swing
Death and all His Friends

--Drew Regensburger (drew@revolve21.com)



===== Second Spin =====
I have to admit, it's been a while since I would have called myself a Coldplay fan. I loved songs on Parachutes and Rush of Blood to the Head, but X & Y kind of lost me. I wasn't thrilled about Viva La Vida, but reading Drew's review changed that for me. After listening to it a bit, I find myself pleasantly surprised.

The main review is right, Eno's magic touch is still magical, and it shines through brilliantly here. The album isn't as much of a departure from Coldplay's established sound as I thought it would be, but every track is solid and very well polished. I'm also very glad that the piano didn't disappear. It's nice that it now shares the spotlight more than it did on former albums, but it's still very much there, and it is very much a driving force.

On the whole, I feel fairly comfortable calling this the best Coldplay CD on the market. I think that established fans will find plenty to like here. Newcomers will also find a bit to enjoy. Overall, it's a very solid album.

-Kenny Yeager (kenny@revolve21.com)