Album Review: Coldplay - Viva La Vida or Death and All His Friends

Preceded by a free L.P., digital download and various tie-ins, the fourth album from Chris Martin and the gang is certainly as unavoidable as a release can get. Confusion reigned over its title; the full name now appears on the spine but the media typically displays only the first three words of the title. This differentiation only adds to what remains a curious album in many respects.

The group paired up with music’s first scientist, Brian Eno, to reap satisfaction from the first listen and display a newfound complexity within each song. The verse-chorus-verse methodology of the debut hit single, “Parachutes”, and the follow-up track, “A Rush Of Blood To The Head”, has been replaced with a free reign on sonic design. With Eno’s tutorship, it appears that Coldplay’s old music rule book has been thrown out the window.

The opening track, “Life in Technicolor” has a certain “goal of the month” montage feel to it to lure in the listener. Their change of tact and direction is more apparent in “Cemeteries of London”, where the atmospheric synthesisers start early on and the delay laden guitar riffs are more competent than those that appeared on previous album, X&Y.

“Lost!” consists of a steady drum pattern that comes with stark contrast to the church organ melody, but the blend is as pleasing as it is diverse. Although never one to brag over the lyrical content on releases, singer Chris Martin has stated that he would rather his chords be remembered in future. His lyrics (just because I’m losing / doesn’t mean im lost) are beautifully intertwined with the pulsating rhythms of each song.

“Viva La Vida” forms a full crescendo midway through the song as the it depicts, “Jerusalem bells are ringing / roman Calvary choirs are singing”. Its kettle drum rolls and the exclusion of guitar lines is so far out of left field it has Eno’s name written all over it. Similarly, another festival favorite in the making follows as “Violet Hill” brings back the heavy guitars and added marching drums. A hark back to the early albums as it blends the acoustic of “Parachutes” and the electric tones of its follow up. The sitar riffed, “Strawberry Swing” and two-parted epic ending track, “Death and All of His Friends” finish off the eclectic mix of genres to be received from the album.

At first listen, the album comes as somewhat of a slight confusion, but it’s well worth sticking it out for the long haul. What Coldplay has done here is a success, not only critically or commercially but on an artistic level. To create an album that is so full of diversity leaves the group firmly up there with artists such as Radiohead, etc. It’s unlike Coldplay in most respects, but its triumph may come from the desire to make an album to challenge the listener, and with Brian Eno behind the desk, this is in no doubt confirmed.