Music Review: Viva la Vida or Death and All His Friends

Sorry I didn't post this over the weekend. I had a last-minute weekend visitor: my mom! More about that in another post. Let's get down to business: my review of Coldplay's newest CD, Viva la Vida or Death and All His Friends.

Bringing on Brian Eno and Markus Dravs was about the smartest thing that Coldplay could have done at this juncture. After the release of X&Y, a lot of critics (and many long-time fans) felt a bit frustrated (or betrayed) by what they heard. It was so...easy. Indulge me in a very rough metaphor:

X&Y is that girl that's friendly and a little flirty, but predictable. She says things that sound pretty and are trying to be deep, yet are too vague to scratch the surface of anything. Even though she's nice to look at, whatever's going on beneath the surface is overshadowed by her shiny, exterior. Her old boyfriends have fond memories of her because she was easy and accessible, but she doesn't do much for someone looking for a substantial, deep connection. From a marketing standpoint, it was genius. (As would be dating the prettiest, easiest girl you find. It makes you look like a stud, right?) But to say it left the rest of us wanting would be an understatement.

But oh, vengeance is sweet. Viva la Vida is that girl. You know, the one who sounds and looks nice, but who's also got some real guts and a real roundedness. She doesn't lend herself too easily. There are elements of her that are accessible to most people, but for those who really get to know her, they're hooked. They willingly sink their claws in and go along for the ride.

I originally planned a track-by-track review, but I fear it would turn into a novel. Let me just say this -- Coldplay's new songs are a vast departure from the overly-radio-friendly X&Y. There are quiet, intimate moments and monumental builds of strings, there are handclaps (! This is one of my favorite things ever -- simple and catchy) and hip-hop beats. There are Oriental influences, especially in Strawberry Swing, and there is the trademark piano throughout. Coldplay cover a lot of ground -- literally, as they recorded in a bakery, a magic shop, a nunnery, and a church -- yet none of it feels unearned or out of place.

Do I love it? Absolutely. Am I cutting them too much slack? Perhaps. Some may tire of their shtick, but after nearly a decade, I still get shivers.

Favorite tracks: Lost!, 42, Violet Hill, and Strawberry Swing. (Also, the acoustic version of Lost!, titled Lost?, is a simple, beautiful take on its vibrant, full counterpart. However, that track is only available on iTunes.)