College Times

Media Credit: Tom Sheehan

At first listen to Viva La Vida or Death and All His Friends, Coldplay’s fourth studio album, you might wonder: What is wrong with Chris Martin?

The singer seems to be in a bad place, judging from many of his lyrics, which seem full of angst and obsessed with one’s shortcomings. But upon repeated plays, and as Martin’s glorious melodies fully sink in, the sun begins to peek out from behind all the clouds.

Producer Brian Eno (U2, Talking Heads) shows why he’s considered the father of modern ambient music – his eerie, atmospheric touch and unorthodox song structures pervade the album, allowing the band to step out of its verse-chorus-verse comfort zone. Coldplay is clearly bent on stretching its musical boundaries, and the result is not as easily accessible as previous works, but it’s ultimately thrilling.

Echoing guitar and swelling synths add a sense of foreboding to the otherwise lively, sing-song “Cemeteries of London”; a thunderous bass drum, hand claps and church organ elevate “Lost!” beyond a mere pop song; and a complex musical interlude that recalls classical compositions by John Adams liberates “Death and All His Friends” from typical morose piano ballad.

Elsewhere, Martin struggles with temptation on “Yes”; mourns lost ones on “42; and bemoans a fall from grace on the compelling, string-driven first single “Viva La Vida.”

But on “Lovers In Japan/Reign of Love,” Martin is inspired to declare, “I have no doubt/One day the sun will come out.” Beyond the album’s litany of human weaknesses, its true message is hopeful: Mankind will forge on despite all its flaws.

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