Viva La Vida Or Death And All His Friends | 
| Manufacturer: Capitol
Buy New: $8.99
Rating:  344 reviews
Sales Rank: 4
Genre: international-music
Media: Music Download
Running Time: 0 Minutes
ASIN: B001AU8ZLK
Publication Date: June 17, 2008
Availability: Usually ships in 1-2 business days
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| Customer Reviews: Read 339 more reviews...
Viviendo La Vida! June 17, 2008
Rudy Palma (NJ)
139 out of 150 found this review helpful
Coldplay has turned in another solid effort with its 4th studio album, the indecisively-titled "Viva La Vida or Death and All His Friends," but they expand their boundaries this time. Gone is the predictability of tightly-wound, highly catchy 4 minute arena pop/rock anthems marching in succession, not to mention the sensitive male singer/songwriter cliches and often dial-by-numbers production values. The British quartet has traded that solid but stagnant formula for artsy experimentation, and the results are commendable, even if their enlisting legendary studio wizard Brian Eno to bolster the LP's ethereal, left-field sound is in and of itself predictable. These songs do not lend themselves to radio playlists in the vein of "Clocks" or "Talk," but the album is their most intriguing and memorable. The results are a little less Phil Collins, a little more Peter Gabriel.
The highly digitized, nearly instrumental "Life In Technicolor" opens the album on a high note with sweeping Middle-Eastern instrumentation and loopy, buoyant beats. Immediately ascertainable is that this is not an album that can safely grace the intercom of the local ShopRite. With hand claps and frothy production values behind a droning, funereal organ, "Lost!" is a poignant, yearning ode to finding salvation and a new lease on life. Accented by just the right amount of electric guitar, the intriguing, atypical track not only rocks and invigorates but finds these talented musicians trying for something new and succeeding, underscoring the album's unexpectedly adventurous direction.
With its soul-searching sentiments and sizzling melody, chugging lead single "Viva La Vida" is the only track that oozes mainstream appeal with its sweeping, gorgeously evocative melody that has landed it at #1 on the Billboard pop charts. In that light, it is classic Coldplay and, amazingly, their first Top 5 hit. Even alternate lead single "Violet Hill," a Top 40 hit, defies radio programmers with its mercurial tempo and deep, adventurous lyrics. Singer Chris Martin, however, has never sounded more confident in his delivery, and the band's playing skills have never been demonstrated so impressively in-studio. These four guys sound truly in-sync, and rather than burying their sound Eno smartly accentuates it, bringing out the essence of the songs.
The plaintive "42" is another awesome outing. After 90 seconds of mellow piano and dark lyrics the song zooms into a succession of production swirls, fast melody swings and snazzy electric guitars. It is not only a marvel, but worth many listens. "Lovers In Japan" is also a winner with its sunny, bristly melody - the way Martin wraps his vocals around the proceedings is a pleasure to hear. The thunderous ode to peace that is "Death and All His Friends" is also a highlight as it closes the album before revealing a hidden track titled "The Escapist," a mellow finale set to the tune of "Life In Technicolor."
The men of Coldplay will likely lose fans who prize clear-cut ear candy over adventurousness, yet will surely gain respect from those who had previously written them off as creators of slick but predictable radio-savvy pop/rock. What's for sure, however, is that this is their most interesting outing to date.
The painting on the album covers is "Liberty Leading the People (La Liberte guidant le peuple)" by French artist Eugene Delacroix depicting the July Revolution of 1830.
 Largo vive el nuevo sonido* June 17, 2008
Amanda Richards (Georgetown, Guyana)
77 out of 100 found this review helpful
Coldplay moves away from their usual radio-friendly soaring anthems, but still score big with their fourth studio album, which is filled with rich instrumental passages, as in the very first track "Life in Technicolor".
The second track "Cemeteries of London" reminds me of soundtrack music from those old spaghetti westerns, but with deep and introspective lyrics:
"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..."
Third track "Lost" is a plaintive song, minus a clearly defined chorus, but not missing it for a moment.
This is the point where the album really takes off. Chris Martin's vocals stand out from the muted but beautiful background melody of "42", and then it kicks up a notch by the end. The next two tracks are two-fers, each approximately 7 minutes of classic Coldplay. "Lovers in Japan" flows into the introspective "Reign of Love", and then "Yes" leads in the hidden (mostly instrumental) track "Chinese Sleep Chant". On "Yes", Chris Martin reaches deep down into his vocal range, and pulls out some of his lowest notes ever.
This brings us to the best (and most radio friendly) track on the album. The title track "Viva La Vida" comes closest to mainstream, and is an instant favorite on the first listen. Hot on its heels comes the other single "Violet Hill" which features a guitar solo in the middle before Martin comes back in to ask, among other things, "If you love me, Won't you let me know? "
The short ten-track album closes with "Strawberry Swing" and the melancholy "Death and All His Friends".
Slower, darker and more meditative, yes
Mainstream, no
Brilliant, definitely
Amanda Richards, June 17, 2008
*supposed to mean "Long live the new sound", but I'm open to correction.
Coldplay enters into yet newer territory, with great results June 17, 2008
Paul Allaer (Cincinnati)
49 out of 58 found this review helpful
As a fan from Coldplay's very early days (I still have "Parachutes" as one of my favorite albums of the last decade, and I saw the band's second ever US gig, in February 2001 in Portland, OR), I have to admit that I was somewhat apprehensive about the new album, which has been widely touted as Coldplay's 'experimental' album. One of the things touted was that the album would feature sounds recorded in a Barcelona church, as if anyone really cares about that, in the end we just want to hear good songs/a good album. So.... three years after "X&Y", finally comes Coldplay's 4th studio album.
"Viva la Vida or Death and All of His Friends" (10 tracks, 46 min.) starts off with a 1-2 blast of the soaring instrumental "Life in Technicolor" and the equally great "Cemeteries of London". "Lost!" finds Chris Martin pensive ("I May Be Losing/But I'm Not Lost"). The album centers around the two long tracks into the middle: "Lovers in Japan/Reign of Love" (2 separate songs stapled together for whatever reason, with "Lovers in Japan" reminding me of U2's "Where the Streets Have No Name", courtesy of producer Brian Eno) and "Yes", which also features 2 different songs, albeit under the same name. "Viva La Vida" (2nd single, also featured in the iPod commercial, prompting Coldplay to its biggest Billboard Hot 100 success ever at No. 3) is a nice dreamy song. "Violet Hill" (1st single) is for me the best song on the album, even without it being catchy as such. The album's closer "Death and All of His Friends" crashes in after a pensive beginning and also includes the 'hidden' track "Chinese Sleep Chant", which reprises the"Life in Technicolor" theme, and a nice way to round off the album.
In all, this album makes clear that this is not the Coldplay of yesteryear. Even "X&Y" sounds dated by this. There isn't a single "catchy" song as such on here. "Speed of Sound" from "X&Y", the last link to the earlier Coldplay instantly recognizable sound, sounds far, far away now. No falsetto singing from Chris Martin is to be found here. This is the new Coldplay. "Viva La Vida or Death and All of His Friends" is intended what U2's fourth studio album, 1984's "The Unforgettable Fire", was intended to be: a nice break with the previous band's output, paving the way for more ambitious future outings, and on that level, Coldplay definitely have arrived. Whether Coldplay has an album like U2's next album, 1987's "The Joshua Tree", in them remains to be seen. But this album sure feels like Coldplay is up to it. I am in for the ride.
Assuming We Knew Nothing of Coldplay... June 17, 2008
Liam F. (Melbourne, VIC Australia)
25 out of 26 found this review helpful
And assuming that we had no knowledge of any of Coldplay's previous 3 albums, and assuming that we had no idea of Coldplay's alleged greatness in today's music world. So without any comparison or benchmark, here's what I have to say.
"Life in Technicolor" is so aptly titled. An instrumental arrangement that gradually picks up in volume, texture and excitement, this album opener is so colourful it reminds you of a carnival. It gets your foot tapping and your head nodding. Some sources rumour that this song will be sung in words in Coldplay's next CD. The mood then glooms down when "Cemeteries of London" comes along. Sinister synthesizers flood the atmosphere and mysterious notes tinkle from the piano before the beats enter and the song erupts into a minor-key rock anthem. You'll find yourself singing "la la la la la" in no time. "Lost" bounds in, as track #3, with claps and a bouncy beat. Featuring some of the most intriguing lyrics (either deep or nonsensical will depend on you) - "just because I'm hurting, doesn't mean I'm hurt" and "just because I'm losing, doesn't mean I'm lost" - this song maintains the upbeat tempo throughout.
The mood becomes sombre once again at the beginning of "42". Apparently this is the favourite number of this band's lead singer. Anyway, by the time you finish pondering what makes 42, the number, so likeable, this song takes a sharp turn and rages forward, pounding drums screeching guitars and all. "42" finishes off back where it began - kinda like a fine day turning into a storm and becoming peaceful once again after the storm. Work of art. "Lovers in Japan/Reign of Love" is really 2 songs. "Lovers in Japan" sports a `happy' tune, with racing piano. If drums were replaced by a techno beat, it could easily pass off as the next hottest dance-pop tune in the vein of Dario G's "Sunchyme". "Reign of Love" is soothing, tranquil and relaxing. The vocals are gentle, cradled by softly played piano, all enveloped by warm synthesizers. Reminiscent of a walk in the garden in the evening.
"Yes/Chinese Sleep Chant" is once again 2 songs. "Yes" seems like it is sung by a different singer. Turns out it's not. Same singer, lower register. Interesting presentation. Dangerous sounding, minor-key tune. At the 1:33 mark, Arabic-flavoured strings add zest to the instrumental arrangement of the song. "Chinese Sleep Chant" could easily sit in the track listing of the soundtrack to "Lost in Translation". Guitar distortion and feedback, pounding drums, and a faded yet ethereal voice makes listening to this track a giddying sensation. You could be hypnotised.
"Viva La Vida". Remarkably intelligent songwriting. Encapsulates originality, creativity, artsiness and yet retains every element needed for commercialism. Chorus is catchy as ever. The bell and strings stick in your head - for a long, long time. "Roman cavalry choirs", "Jerusalem" and "St Peter" will pop up in your head a lot. Come minute mark 3:00, when the band erupts into "Oh oh oh oh oh", the song lift itself into the stratosphere, sweeping you along with it. "Violet Hill" comes next. A dark, brooding rock song, A piano-laced song, sprinkled with distorted electric guitar and a mean guitar solo - I'm inclined to call this rock song of the year. A little U2, a little Phil Collins, a little White Stripes - brilliant.
"Strawberry Swing" starts like a folk tune. The beats enter like tribal drums. Can you see yourself dancing around the fire? Catchy melody, immaculate instrumentation. "Death and All His Friends" is a piano-based song that starts with a gentle lullaby-ish chanting and builds up into a soaring and memorable crescendo, as the album bids you good-bye with a reprise of "Life in Technicolor", entitled "The Escapist". "Death and All His Friends" reminds you what a thrilling ride your musical senses have just been on. By the time this CD leaves you, you'd be eager to push play again.
"Viva La Vida or Death and All His Friends" is a most enjoyable listening experience that keeps getting better each time. Don't judge it in comparison to the 3 previous Coldplay CDs. This one is completely different but just as, if not more, haunting.
Liam
18 June 2008
 Coldplay's Progressive Rock Experiment June 17, 2008
A. Shaffer (Gotham City, USA)
21 out of 30 found this review helpful
Ah, how the mighty have fallen. If you're a longtime Coldplay fan from the days of "Parachute" and "A Rush of Blood...", chances are that you will not recognize the band playing on "Viva La Vida." Coldplay experiment with string and synth sounds not heard on previous releases. "We weren't afraid to try anything," Chris Martin told Billboard in April.
This approach worked famously for Radiohead--but Radiohead weren't the biggest band in the world at the time they released the avant garde "OK Computer." While it's certainly a fearless move to bury Martin's trademark falsetto and abandon the standard verse-chorus-verse structure of the modern pop song, "Viva La Vida" is a gamble that won't pay off for every listener. The lyrics are more obtuse than on previous albums, and the religious tones are overbearing at times.
Coldplay are streaming the album online for free--I recommend taking a listen before joining Coldplay on their new journey.
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