Coldplay - Viva la whatever

Describing a new band's record as "just on the safe side of edgy" might sound more like a backhanded compliment than an actual endorsement, but when it comes to heirs to the U2-throne Coldplay, such a statement is actually a good one. Having achieved things in terms of commercial and critical success that 99% of their counterparts will never get close to, Coldplay could have played it either way: a decidedly pop-sounding effort, completely geared toward total radio domination, or a weird artsy release, in a bid to reclaim their future-Radiohead title of yore. Of course, either would not have been truthful to the ethos that has guided this band since their beginnings, which has seen them compose some of the most memorable pop songs (Yellow, The Scientist) of the past decade, while staying away from the saccharine excesses displayed in most radio hits. Coldplay have always been about honesty, but also about keeping it (somewhat) real.
Ever since word got out that their new album would be released this summer, anticipation has been sky-high, contrasting with the relatively low-key profile the band had managed to keep these past few years. At least as low-key as you can get when your singer is married to a Hollywood star. When details about the album started leaking out, most notably that U2 producer and ambient master Brian Eno would be producing their opus, even some of the more jaded members of the MP3 blogosphere took notice. Already the album is the most pre-ordered album in the history of the iTunes music store. And sales are sure to be astronomical when compared to the sad state of music sales in 2008 (down 10% this year according to an industry institute. Those damn kids and their Myspace!).

So what gives? Is the album a tepid retread of past success, kind of like many songs on previous effort X&Y were pretty much copy/paste versions of previous hit? Or is this the sound of a band going for fresh ideas, embarking on a groundbreaking journey where only few survive? The answer, as is hinted above, is a bit of both. While Eno's influence is unmistakable and very appreciable on some of the album's forays into sprawling epic (Death And All His Friends, with its quasi-electronic piano loops and ambient-y ending; Viva La Vida and its urgent pace that refuses to go up-down-up-down like all well-behaved pop songs should), there are a few duds that betray the band's still evolving musical bagage, where one gets the idea the guys still have some automatisms from their past they've got trouble shaking off (Violet Hill, Cemetaries Of London). Though not bad, these songs commit the ultimate sin of being kind of boring and not memorable. Yet there is enough material here for repeat listens of some of the highlights (DAAIF, Life In Technicolor, Viva La Vida) which are able to sound as though they would be as well-suited for an arena concert or a road trip to the coast on a warm September day.
With so much new music now available at one's fingertips, it is hard to pay attention to any album that sounds less than stellar over the first few listens. But music is not just an intellectual pursuit, it is also very much a common human experience, one that is shared with friends, family, coworkers and strangers. Coldplay seems to understand this, striving to compose songs that are sound different yet are immediately relateable. Time will tell whether their output will manage to stand the test of the years, but they at least deserve credit for not selling themselves or their audience short.

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