Viva La Vida

After 3 highly successful albums, Coldplay have reached the stage where they can let go a bit in their music. `Viva la Vida or Death and all his friends' does exactly that, it is like their equivalent of Radiohead's `Kid A'. Despite the annoyingly long title, it seems now that it is widely accepted that the `Viva la Vida' is the much preferred shortening of the title. This is shown through the front cover of the album which doesn't even mention the latter part of the album title.

`Parachutes', `Rush of Blood to the Head' and `X &Y', for me was a progression as each album was better than the previous. Although the sound varied slightly from album to album, the song choice was always the same. For instance, the slow ballad which looks at the positives in a extremely negative situation; From `Parachutes', this was `Everything's not Lost', from `Rush of Blood to the Head', this was `Amsterdam' and then arguably one of the best songs they have ever done, `Fix You' from `X & Y'. When looking for this kind of track on `Viva la Vida'; none can be found. This is just one example of how this album has got a completely different feel to it than the previous 3. It feels more structured and there is a natural order to the songs which come together to tell a story. Whereas the other albums are more like albums created to make the best singles; this is more like an album created to make the best album and if any singles came out of it, it would be a bonus.

Coldplay's change in approach to this album can be heard instantly through the first track, `Life in Technicolor'. You expect the headlines in the music press to be `Coldplay in instrumental shocker'. As you don't expect Coldplay to do an instrumental, but that is just the start of how this album is a huge leap forward in the bands creativity. I cannot think of a more appropriate name for this track as it makes the album come to life right from the get go and it is so uplifting and refreshing. The track blends into the second track; `Cemeteries of London' nicely as Martin's soft vocals comes in with, `At night they would go walking till the breaking of the day'.

All of the tracks on this album are great. My personal favourites include `42', `Lovers in Japan' and `Strawberry Swing'. `42' starts off with just slow piano and Martin's vocals before Buckland, Berryman and Champion come in and set the song alight. As Martin explodes into the chorus `You thought you might be a ghost, you didn't get to heaven but you made it close' where he also gives up the piano to add to the vibe with the electric guitar. It feels like he is talking about someone who feels like he is invisible to everyone else even though he does all the right things, he is not fully appreciated. `Lovers in Japan' on the other hand starts off with an upbeat piano along with the rest of the crew and is just a joyous, energising song. `Strawberry Swing' is more of a kick back song as it is nice and relaxing. The melody is magical and Martin's vocals are of the same high standard as displayed on the rest of the album. The imagery which this song portrays is one of beauty and happiness, `It's such a perfect day'.

One of the only criticisms I have about this album which slightly annoy me is the dual tracks - `Lovers in Japan/Reign of Love' and `Yes/Chinese Sleep Chant'. The latter songs in both of I feel are better served as intermittent tracks in their own right. `Chinese sleep chant' especially is great as you feel like you are soaring through the air. The songs are all connected anyway so I don't really see the need to connect the tracks into the one. But although I disagree with it, I don't let it affect my enjoyment of listening to this class album.

Another gripe on paper I would usually have with this album is that elusive hidden track. Now normally it would irritate me but in this case the gap between last track `Death and all his friends' and the hidden track is minimal. Not only this but this time the hidden track makes sense in the context of the album and is definitely not just an afterthought. The track represents a chance for the couple to forget about all the problems they have experienced in their past and live a happy life as Martin sings `In the end, we lie awake, and we dream of making our escape'.

Overall `Viva la Vida' is an absolutely cracking album and for me it is their best to date. Martin and the boys have stepped slightly outside their comfort zone on more than one occasion on the album. Showing a band that is not afraid to progress their creativity and put passion into their music. If this is a sign of things to come, I'm already eagerly anticipating the fifth album which is expected to be out in December 2009.

I am a big fan of Coldplay, but did not care for this CD. The only two songs I like are Life In Technicolor and Viva La Vida. I have tried listening to the entire CD several times, but it certainly is no X&Y, which I always have in my CD player and listen to constantly. When bands try to change their style, I say, "if it ain't broke, don't fix it".

The album is full of depth and melody, and offers a more available and complete set of songs than Coldplay's last album. Worth every penny.

After many years of loathing Coldplay to the uttermost, and letting it be known by quoting the "40 Year Old Virgin" line of "you know how I know you're gay..." to various fans, I now find myself in unison with those who adore this band. Viva La Vida is an awesome concept album. It is definitely a departure from their previous outings, but still just as sweet. The experimentation with new sounds and styles shows considerable growth and awareness of themselves and their abilities to make solid, meaningful music. At no time while listening to this album did I feel like they were employing their standard "Coldplay formula". This edition to their already stellar discography is fresh, imaginative, and considerably enjoyable to listen to. Whether just sitting around the house, or cruising down the highway one can't help but be pleased with what it is coming from the speakers. This one gets an A+ from me.

When a group goes mainstream in a significant way, it always seems like a deathwatch begins for their music to turn safe or derivative because they've simply run out of ideas or are attempting to appeal to the widest possible audience. Fortunately, Coldplay hasn't (yet?) gotten to that point with their latest album.