Viva la vida or death and all his friends

In a case of well-honed troubleshooting after the startlingly bland X&Y, Coldplay"s fourth LP is a diluted version of U2"s Achtung Baby or Radiohead"s Kid A, the "experimental" mid-career maneuvers of their peers. Brian Eno produces.

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Earlier this year, Britons voted Coldplay as The Band Most Likely lớn Put You to Sleep. The poll, conducted by khách sạn chain Travelodge, had Chris Martin & Co. Beating out aural Ambien including James Blunt và Norah Jones. Even for a band known lớn take solace in their overarching pleasantness, the drowsy coronation doubled as a harsh insult. After all, Coldplay is a rock band. A grandma-friendly, Radiohead-normalizing, disarmingly polite rock band led by a man who sounds like he"s still yearning for puberty perhaps...but a rock band nonetheless. After proving their stadium bona fides with 2002"s bristling A Rush of Blood khổng lồ the Head, these wuss messiahs fattened up with X&Y, a startlingly bland affair that even forced eternally level-headed New York Times critic Jon Pareles to dub them "the most insufferable band of the decade." The Travelodge survey indicated this considerate foursome wasn"t even keeping people awake long enough khổng lồ piss them off anymore. So Coldplay did what any U2 acolytes worth a chiming guitar chord would do-- they went off khổng lồ "rip it up & start again." But Viva isn"t a complete overhaul á la Achtung Baby or Kid A; just as they dull the sharp corners of their legendary influences musically, Coldplay offer a diluted version of the "experimental" mid-career maneuver with their fourth LP. It"s a case of well-honed troubleshooting that should keep the faithful conscious enough lớn appreciate its subtle improvements.

Ever self-deprecating, Martin offered his band"s thesis to lớn MTV a couple weeks ago: "We look at what other people are doing và try and steal all the good bits," he said. "We steal from so many different places that hopefully it becomes untraceable." That last bit is probably wishful thinking. For their "new direction" album, Coldplay hired the egghead responsible for more new direction albums than any other producer over the past 35 years, Brian Eno. The move isn"t original, but it"s smart. A self-described "sculptor" with a tendency to chip away rather than augment, Eno helps Coldplay reverse their bloat in favor of a slimmer sound; the anthems remain but they"re no longer bogged down by incessant refrains and overdubs.

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Thanks khổng lồ a bubbling bit of exotic percussion that wouldn"t sound out of place on Peter Gabriel"s latter-day LPs, "Lost!" is transformed from Just Another Coldplay tuy nhiên into a uniquely alluring smash & live staple for years khổng lồ come. The Gabriel connection is also apparent on the spectacular, wide-eyed "Strawberry Swing", which floats light tribal drums above circular guitars và Martin"s idyllic musings. Think "In Your Eyes": The Next Generation. More welcomed semi-surprises: Ballsy first single "Violet Hill" pulls off some honest-to-God Scary Monsters mutant funk while "Chinese Sleep Chant" is a shoegaze excursion as traceable as it is passable. Arcade Fire producer Markus Dravs" touch can be heard on the strung-out anthem "Viva la Vida", its "woah oh oh!" refrain already responsible for untold iPod sales. Apart from a few brief lulls into somnolent twinkle-pop, the music is purposeful, svelte, and modern. If only Martin could inject some pathos into his often-embarrassing universal scripture.

There"s a thin line between lyrics that speak to everyone và lyrics that suck-up to lớn everyone (see: Bono"s steady devolution over the last couple decades). Even on Coldplay"s best songs, Martin sometimes has trouble reconciling his inner gian lận with his better judgment. On Viva, he backs away from the wallowing self-pity that tanked X&Y, instead going for black-and-white extremes-- life and death, love và lust, dreams & reality-- with little regard for any shades of gray. His supposedly ominous headstone obsession on "Cemeteries of London" is about as creepy as a midday graveyard stroll. Và "Lost!" is nearly done in by a cringeworthy verse featuring big fish và a small pond. But there are moments when Martin"s band mates push his wide-open words toward more specific meaning. Blissful nostalgia permeates "Strawberry Swing" so thoroughly it"s impossible khổng lồ deny its "perfect day," and the hook lớn Viva"s closer relishes its immortal rush: "I don’t want lớn follow death and all of his friends!" He may be a pointed critic of his own broadness-- as seen in his guest appearance on "Extras" và in countless humble interviews-- but Martin is still a hopeless sap. He"s clearly aware of Thom Yorke"s apocalyptic verve and Bono"s most cunning reflexive confessionals, but thus far he"s incapable of matching either one.

"Lights will guide you home/ & ignite your bones/ and I will try to lớn fix you," thanh lịch Martin on X&Y"s "Fix You", a gag-inducing bit of motivational flotsam that came off like self-parody. Viva offers a more believable fix khổng lồ the current Coldplay dilemma, i.e., how does a pop band with artful aspirations please everyone while satisfying themselves at the same time? Because while they ape their forebears without mercy, there"s no mistaking a Coldplay tuy vậy from a U2 or Radiohead song. The new album expands their individuality in tiny, effective ways while maintaining their world-beating gifts. The record"s violent, revolution-themed artwork is misleading. Viva is more like a bloodless coup-- shrewd and inconspicuous in its progressive impulses.