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Rating: I have always considered Coldplay as the only true successors to the Beatles. Or rather, to be more precise, the most talented direct descendants of the McCartney lineage of the glorious Fab Four. So, according to the far-from-exact science of artistic-musical genetics, this kinship has translated and manifested into:
? Innate sense of melody.
? An incurably optimistic attitude.
? A sober and generally home-loving lifestyle.
"Viva la vida or Death and all his friends" is not Coldplay's "Kid-A". The much-heralded experimentation did not find confirmation in the 10 songs (13, considering the ghost tracks) that make up the English band's fourth album; and perhaps this too is a legacy from their illustrious musical father Sir Paul.
But that's fine. In fact, it's great.
Coldplay do not abandon the melodic path that has always characterized them, but they allow themselves some sudden deviations, just enough to renew a formula that in the previous "X&Y" already smelled stale.
No revolution, as I was saying, except for the structure of the songs, which often reject the traditional song form and the chorus at all costs. "42" is the most successful example of this new trend, a tripartite track that starts quietly with a piano reminiscent of "Imagine" (even directly cited in a piano phrase), only to explode in a decidedly heavy instrumental second part (by their standards, of course) which in turn flows into an energetic pop'n'roll that screams Beatles at the top of its lungs, before concluding exactly as it began. A similar structure can be found in the concluding semi-title track "Death and all his friends", a piano lullaby that suddenly turns funky and ends in a triumph of effected guitars and epic choruses.
The key principle is the variety of styles: the album is lively and heterogeneous, also thanks to the contribution of the renowned producer Brian Eno. Martin & co. range from the most refined pop ("Lovers in Japan", "Viva la vida") to shoegaze ("Chinese Sleep Chant"), from the rock of the first single "Violet Hill", which is reminiscent of the Oasis, to diluted world music influences ("Strawberry Swing", Beatlesque in its lyrics, reminiscent of "Good Day Sunshine" from Revolver) and, why not, to blues bursts and the nervous Middle Eastern violins of "Yes!". Let's not forget "Cemeteries of London", a true ghost story that mixes folk and flamenco-like rhythm, and especially the brilliant "Lost!", an example of how a perfect saccharin ballad can be deconstructed and reassembled into an unusual track that combines almost tribal percussion with organ and piano.
The lyrics continue to be Coldplay's weak point, but it's undeniable the enormous step forward compared to the trite and sugary texts of the predecessor "X&Y". Even in this context, it's mandatory to renew the aforementioned comparison with McCartney, as fitting as ever: isn't it true that Sir Paul also had (and still has) a conflicted relationship with the lyrics of his songs? A relationship that worsened during his solo career when there was no Lennon to play the role of the conscience. Coldplay's lyrics are functional to their music, and modifying their style would also entail an inevitable metamorphosis of the musical part; and we don’t need more Radiohead, thanks.
Coldplay have changed, folks, but they do not betray their nature and continue to pursue their poetry with the usual, disarming honesty. And a touch more dynamism that will certainly be able to increase the ranks of their already large following of admirers.
Tracklist Lyrics and Videos
02 Cemeteries of London (03:20)
At night they would go walking ‘till the breaking of the day,
The morning is for sleeping…
Through the dark streets they go searching to see God in their own way,
Save the nighttime for your weeping…
Your weeping…
Singing la lalalalala la lé…
And the night over London, hey…
So we rode down to the river where the toiling ghosts spring,
For their curses to be broken…
We’d go underneath the arches where the witches are in the saying,
There are ghost towns in the ocean…
The ocean…
Singing la lalalalala la lé…
And the night over London, ey…
God is in the houses and God is in my head… and all the cemeteries in London…
I see God come in my garden, but I don’t know what he said,
For my heart it wasn’t open….
Not open…
Singing la lalalalala la lé…
And the night over London, ey…
Singing la lalalalala la lé…
There’s no light over London today…
04 42 (03:57)
Those who are dead are not dead
They're just living in my head
And since I fell for that spell
I am living there as well, oh
Time is so short
And I'm sure
There must be something more
Those who are dead are not dead
They're just living in my head, oh
And since I fell for that spell
I am living there as well
Time is so short
And I'm sure
There must be something more
You thought you might be a ghost
You thought you might be a ghost
You didn't get to heaven but you made it close
You didn't get to heaven but you made it close
You thought you might be a ghost
You thought you might be a ghost
You didn't get to heaven but you made it close
You didn't get to heaven but you, oh, oh
Those who are dead are not dead
They're just living in my head
06 Yes / Chinese Sleep Chant (07:06)
When it started, we had high hopes
Now my back's on the line, my back's on the ropes
When it started, we were alright
But night makes a fool of us in the daylight
There we were dying of frustration
Singing, "Lord lead me not into temptation"
But it's not easy when she turns you on
Sin, stay gone
If you'd only, if you'd only say yes
Whether you will's anybody's guess
God, only God knows I'm trying my best
But I'm just so tired of this loneliness
So, up they picked me by the big toe
I was held from the rooftop, then they let go
Dizzily screaming, "Let the windows down"
As I crawl to the ground
If you'd only, if you'd only say yes
Whether you will's anybody's guess
God, only God knows she won't let me rest
But I'm just so tired of this loneliness
I've become so tired of this loneliness
07 Viva la Vida (04:04)
I used to rule the world
Seas would rise when I gave the word
Now in the morning I sleep alone
Sweep the streets I used to own
I used to roll the dice
Feel the fear in my enemy's eyes
Listen as the crowd would sing
"Now the old king is dead! Long live the king!"
One minute I held the key
Next the walls were closed on me
And I discovered that my castles stand
Upon pillars of salt and pillars of sand
I hear Jerusalem bells a ringing
Roman Cavalry choirs are singing
Be my mirror, my sword and shield
My missionaries in a foreign field
For some reason I can't explain
Once you go there was never
Never an honest word
And that was when I ruled the world
It was the wicked and wild wind
Blew down the doors to let me in
Shattered windows and the sound of drums
People couldn't believe what I'd become
Revolutionaries wait
For my head on a silver plate
Just a puppet on a lonely string
Oh who would ever want to be king?
I hear Jerusalem bells a ringing
Roman Cavalry choirs are singing
Be my mirror, my sword and shield
My missionaries in a foreign field
For some reason I can't explain
I know Saint Peter won't call my name
Never an honest word
But that was when I ruled the world
I hear Jerusalem bells a ringing
Roman Cavalry choirs are singing
Be my mirror, my sword and shield
My missionaries in a foreign field
For some reason I can't explain
I know Saint Peter won't call my name
Never an honest word
But that was when I ruled the world
08 Violet Hill (03:49)
Was a long and dark December
From the rooftops I remember
There was snow
White snow
Clearly I remember
From the windows they were watching
While we froze
Down below
When the future's architectures
By a carnival of idiots on show
You'd better lie low
If you love me
Won't you let me know?
Was a long and dark December
When the banks became cathedrals
And the fog
Became God
Priests clutched onto bibles
Hollowed out to fit their rifles
And the cross was held aloft
Bury me in armor
When I'm dead and hit the ground
A love back home unfolds
If you love me
Won't you let me know?
I don't want to be a soldier
Who the captain of some sinking ship
Would stow, far below
So if you love me
Why did you let me go?
I took my love down to Violet Hill
There we sat in snow
All that time she was silent still
So if you love me
Won't you let me know?
If you love me,
Won't you let me know?
09 Strawberry Swing (04:09)
They were sitting
They were sitting
In the strawberry swing
Every moment was so precious
They were sitting
They were talking
In the strawberry swing
Everybody was for fighting
Wouldn't wanna waste a thing
Cold, cold water
Bring me round
Now my feet
Won't touch the ground
Cold, cold water
What ya say?
It's such
It's such a perfect day
It's such a perfect day
I remember
We were walking up
To strawberry swing
I can't wait 'til the morning
Wouldn't wanna change a thing
People leaving all the time
Inside
A perfectly straight line
Don't you wanna curve away
It's such
It's such a perfect day
It's such a perfect day
Now the sky could be blue
I don't mind
Without you
It's a waste of time
Could be blue
I don't mind
Without you
It's a waste of time
Could be blue
Could be grey
Without you
I'm just miles away
Could be blue
I don't mind
Without you
It's a waste of time
10 Death and All His Friends / The Escapist (06:18)
All winter
We got carried
Or way over on the rooftops just get merry
All summer we just hurry
So come over just be patient and don't worry
So come over just be patient and don't worry
So come over just be patient and don't worry
So come over just be patient and don't worry
So come over just be patient and don't worry
And don't worry
Try
Try
Try
No I don't want to battle from the year to end
I don't want to cycle and recycle revenge
I don't want to follow death and all of his friends...
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Other reviews
By GrantNicholas
Viva La Vida is certainly not an album as good as the previous ones; you surely won’t find a 'Fix You' or a 'Trouble', but we’re not facing a poor album either.
The hidden track 'Chinese Sleep Chant' surprises, dark and ambiguous like no Coldplay song has ever been.
By Doherty
It all opens with the entirely instrumental track "Life in Technicolor", a more than 2-minute gallop that borders on instrumental perfection.
"Viva la Vida" emerges with a total absence of guitars and a joyful rhythm and choir that elevate the track to a veritable anthem of happiness.
By nss_gabriele
"It’s just the freedom to say 'It can’t please everyone. We’re in it right now, so let’s just do it.'"
"An album fresh, bright, dynamic, with a universal scope, that resides in that seldom-treaded territory between pop banalities and the acido-cacophonic extremes of experimentation."
By davoz
It is precisely that pronounced melodicism... which is compromised by the work of the Woodbridge genius.
One is decidedly disappointed... a misstep, but nothing to worry about.
By temi
This is their "Ok Computer," the music they produced previously takes a step forward, evolves.
How many stars to give? 5 are not enough... this is the classic legendary album for which something more is needed.
