Coldplay - Viva La Vida or Death And All His Friends Review

Posted by Mitch Michaels on 06.19.2008

Coldplay attempt to maintain the title of “biggest band in the world” with their fourth album…

My Story
For Coldplay, it only took ten words to crash into the mainstream: “Look at the stars/Look how they shine for you”. Back in 2000, I believe literally EVERYONE loved “Yellow”. And what was not to love about it? In the time when rap-rock and nu-metal were at their peak powers, fighting for radio space with boy bands, it was refreshing to hear a nice little piano song that most of us could agree was good. I somehow got a copy of Parachutes not long later (I honestly don’t know how – perhaps it was issued to everyone?) and found a good word to describe Coldplay – overrated. With the break-ups, insane hype and legions of copycats since then, I’ve seen little reason to change my mind. Sure, you have your OK singles hear and there, but “new U2”? No way.

Then I heard the title track from their new album and I started to change my mind. Will Viva La Vida deliver on its promises of greatness?

Their Story
The seeds of Coldplay were sewn when Chris Martin and Jonny Buckland met during the 1996 orientation week at University College London. The pair became fast friends and, their first semester at UCL, began plotting to form a band together. Within a year, bassist Guy Berryman had been added to the group (initially called Pectoralz, later Starfish) and the trio was setting up their own gigs around London. Will Champion took over the drums for the group not long later, thus cementing the line-up.

The name Coldplay was famously borrowed from another band, headed by fellow Brit Tim Rice-Oxley. Oxley was ready to ditch the name, however, because he found it too depressing. Coldplay were quick to pick up the moniker, which they did with Oxley’s blessing. Tim was even offered a spot playing keyboards in the newly named Coldplay, but declined, focusing instead on his own band, Keane, who would become music stars in their own right.

With piano-player Chris Martin fronting the band, Coldplay’s sound was very simple, usually featuring acoustic arrangements. The band released several EPs in the late 90’s and generated plenty of media buzz, eventually earning a record deal with Parlophone in the spring of 1999. Coldplay recorded their debut record, Parachutes, in Liverpool, and it was released in the UK in the summer of 2000. The lead single, “Shiver”, was a Top 40 hit in the UK, but it was the follow-up that struck gold. By the time Parachutes was released in the United States, the album’s second single, “Yellow”, was already a #4 UK hit. The song caught fire in the US, too, reaching Modern Rock radio’s Top 10 and just missing the overall Top 40.

A third Parachutes single, “Trouble”, was also a UK Top 10 hit. The band’s appeal in the US was quickly rising, though. In February of 2001, Parachutes became Coldplay’s first gold record.

Coldplay toured extensively on Parachutes, all the way into the fall of 2001, at which point Chris Martin was claiming to be both exhausted and at a loss for words – he hadn’t written a song in months, not a good sign for your sophomore album. Thankfully, inspiration struck as the band worked to re-record the song “In My Place” – a Parachutes cast-off – for their new set. That got the ball rolling, and it didn’t hurt that Parachutes went platinum as they completed the second album (it has since been certified double platinum).

In late summer of 2002, Coldplay released A Rush Of Blood To The Head, their second album. The set was a much more assured (and louder) effort, focused a bit more on rocking than the smooth piano songs from their debut. “In My Place” was released as the lead single and it nearly became their first #1 single, topping out at #2 in the UK. “The Scientist” was another Top 10 UK hit, but the Rush Of Blood was having trouble connecting on US radio. This all changed with the third single release. “Clocks” reached #29 on the US charts in early 2003, making it the band’s first US Top 40 hit.

By the summer of 2003, Rush Of Blood was a double platinum hit in the US and Coldplay was in the midst of a gigantic world tour. The 6x platinum Live 2003 DVD was released as a memento of this long trek (along with the CD version, which went gold). In the meantime, frontman Chris Martin married Hollywood actress Gwyneth Paltrow, ensuring his place in the tabloids for the next several years.

It wasn’t until the summer of 2005 that a new Coldplay track was released to radio. The single, “Speed Of Sound”, soared to the US Top 10, going gold in the process, coincidentally at the same time as both “The Scientist” and “Yellow” (“Clocks” was certified gold just months before). “Speed Of Sound” was followed by the slick and epic X&Y, which went #1 in nearly every country where album sales are counted. By the end of 2005, X&Y was certified triple platinum and a second single, “Fix You” (a Top 5 hit in the UK), went gold.

Their stature as “the world’s biggest band” set, Coldplay began work on their fourth album in late 2006 with notable producer Brian Eno. The set was completed a year later, but not set for release until June of 2008. The lead single, “Violet Hill”, was released at the end of April. Coldplay made the song available for free download for one week. It was available through their website, which saw over 2 million downloaders over the short period. This downloading shot “Violet Hill” to #40 on the US charts. A follow-up single, “Viva La Vida”, currently sits at #2 on the Billboard Hot 100, making it Coldplay’s highest charting song to date.

The Album
On June 17, 2008, Capitol Records released Viva La Vida or Death And All His Friends, the fourth album by Coldplay and the follow-up to 2005’s X&Y. The album features two hidden tracks – “Reign Of Love” and “The Escapist”. Retail exclusive and international versions contain the bonus songs “Lost?” (JAP, iTunes) and “Lovers In Japan (Acoustic Version)” (iTunes). The album debuted at #1 on the UK charts after selling 302,000 copies in its first three days.



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The Band: 8.5
Chris Martin: vocals, keys
Jonny Buckland: guitars
Guy Berryman: bass
Will Champion: drums, percussion

Ever since Coldplay’s debut, which featured plenty of quiet little piano songs, their sound has best been described as meditative. And even through the changes of their second and third album (the bigger arrangements of Rush Of Blood, the slick production of X&Y), they’ve never strayed far from that description. Fans will be happy to find that, once again on Viva La Vida, Coldplay has managed to maintain their most endearing quality through a healthy dose of maturation.

The key figure in the band’s changes is Brian Eno, who steps in as producer for the first time this go-round. Eno, of course, is known for his amazing production work with U2 (The Unforgettable Fire and everything after), being a member of Roxy Music, and for creating the sound Windows makes when it boots up (there’s some free trivia for you). Eno is often cited for his ability to help a band expand beyond their own sound, but on Viva La Vida, he seems to have helped Coldplay expand WITHIN theirs. Eno has helped fill in the gaps, so to speak, adding plenty of lush strings to their arrangements, as well as helping the band find new ways to get their songs across. The band also takes a harder liking to melodies on the album, expanding from simple and memorable hooks. This is extremely apparent on tracks like the title single, which could be one of the best melodies Chris Martin has ever sung to.

Of course, the band themselves are still doing what they do best. Jonny Buckland’s guitar is still as distinctive and grounding as ever, while Chris Martin continues to be the most heartfelt sounding guy in rock. Will Champion proves to be a percussive dictionary on this release, too – hard to believe he’d never picked up a drumstick when the band formed. It’s these elements that Brian Eno has managed to gently squeeze more out of, proving that the Coldplay well runs deeper than even some of their fans thought.

The Songs: 8.5
1. Life In Technicolor
2. Cemeteries Of London
3. Lost!
4. 42
5. Lovers In Japan-Reign Of Love
6. Yes
7. Viva La Vida
8. Violet Hill
9. Strawberry Swing
10. Death And All His Friends

Viva La Vida kicks off with the wonderful instrumental track “Life In Technicolor”, which itself starts as an undeniable cop of U2’s “Where The Streets Have No Name”. Coldplay have spent most of their career with the “next U2” label (or, from their detractors, “U2 wannabes”), so why not embrace it? Influences aside, “Technicolor” sets the stage for the gorgeous melodies of Viva La Vida, segueing into the haunting “Cemeteries Of London”. The “la la” chorus on “London” is just made for arenas, too, but not in a pandering way. Death itself is a running theme on this album – perhaps that’s why the grim reaper got a title credit – and you’ll find reflections on the hearafter on the Thom Yorke-ish “42” and the album closer.

The third track (and possible third single), “Lost” – powered along by a ringing pipe organ – screams Brian Eno, with its electro-pop drumbeat and strangely warm description of spirituality. Of course, it’s hard to surpass this album’s greatest highlight – the hit single “Viva La Vida”. The song is one of Chris Martin’s greatest moments (amidst several – “Violet Hill” could easily come in second) and the synth-backed melody assures its place in your mind for days.

The album closes with two strong tracks, too, in the experimental pop track “Strawberry Swing” (which could easily have been lifted from Rush Of Blood) and “Death And All His Friends”, with its gentle piano and guitar work and deceptive refrain of “Come over, just be patient and don’t worry” before launching into the big hook.

The 411: Viva La Vida isn’t a perfect album, but it’s possibly Coldplay’s greatest. Somehow, by stretching their boundaries (thanks to producer Brian Eno), the band has produced their most immediately satisfying set to date. There’s not a moment of boredom on this tight 45-minute set, and tracks like the beautiful “Viva La Vida”, “Violet Hill” and “Death And All His Friends”. With its themes of death and spirituality, this isn’t a party record for the summer, but it’s sure to spend plenty of time in your bedroom CD player or car stereo.

Final Score:  8.5   [ Very Good ]