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ÝÄÄÄÄÄÄ Release Info ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ ÞÝ ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ Ý ÄÄÄÄÄÄÄÄ Þ
Þ
Þ
Originally released : 06-17-2008
Release date : 06-18-2008
Album name : Viva La Vida
Artist : Coldplay
Ripped by : Fisteh`
Genre : Britpop
Label : EMI Japan
Encoding Software : Lame EOS
Quality : -V 2
Tracks : 11
Size of Files : 70,3 MB
Ä Track list ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ ÄÄÄ Ä Ä
01 02:30 Life In Technicolor
02 03:21 Cemeteries Of London
03 03:55 Lost!
04 03:57 42
05 06:51 Lovers In Japan, Reign Of Love
06 07:07 Yes
07 04:01 Viva La Vida
08 03:43 Violet Hill
09 04:10 Strawberry Swing
10 06:24 Death And All His Friends
11 03:44 Lost? (Bonus Track)
Total time: 49:43 min
Ä Release notes ÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄÄ ÄÄÄ Ä Ä
When Coldplay sampled Kraftwerk on their third album,
X&Y, it was a signifier for the British band,
telegraphing their classicist good taste while
signaling how they prefer the eternally hip to the
truly adventurous; it was stylish window dressing for
soft arena rock. Hiring Brian Eno to produce the bulk
of their fourth album, Viva la Vida, is another matter
entirely. Eno pushes them, not necessarily to
experiment but rather to focus and refine, to not leave
their comfort zone but to find some tremulous
discomfort within it. In his hands, this most staid of
bands looks to shake things up, albeit politely, but
such good manners are so inherent to Coldplay's DNA
that they remain courteous even when they experiment.
With his big-budget production, Eno has a knack for
amplifying an artist's personality, as he allows bands
to be just as risky as they want to be - which is quite
a lot in the case of U2 and James and even Paul Simon,
but not quite so much with Coldplay. And yet this
gentle encouragement - he's almost a kindly uncle
giving his nephews permission to rummage through his
study - pays great dividends for Coldplay, as it winds
up changing the specifics without altering the core.
They wind up with the same self-styled grandiosity;
they've just found a more interesting way to get to the
same point.
Gone are Chris Martin's piano recitals and gone are the
washes of meticulously majestic guitar, replaced by
orchestrations of sound, sometimes literally consisting
of strings but usually a tapestry of synthesizers,
percussion, organs, electronics, and guitars that avoid
playing riffs. Gone too are simpering schoolboy ballads
like "Fix You," and along with them the soaring
melodies designed to fill arenas. In fact, there are no
insistent hooks to be found anywhere on Viva la Vida,
and there are no clear singles in this collection of
insinuatingly ingratiating songs. This reliance on
elliptical melodies isn't off-putting - alienation is
alien to Coldplay - and this is where Eno's guidance
pays off, as he helps sculpt Viva la Vida to work as a
musical whole, where there are long stretches of
instrumentals and where only "Strawberry Swing," with
its light, gently infectious melody and insistent
rhythmic pulse, breaks from the album's appealingly
meditative murk. Whatever iciness there is to the sound
of Viva la Vida is warmed by Martin's voice, but the
music is by design an heir to the earnest British art
rock of '80s Peter Gabriel and U2 - arty enough to
convey sober intelligence without seeming snobby, the
kind of album that deserves to take its title from
Frida Kahlo and album art from Eugene Delacroix. That
Delacroix painting depicts the French Revolution, so it
does fit that Martin tones down his relentless self-
obsession - the songs aren't heavy on lyrics and some
are shockingly written in character - which is a
development as welcome as the expanded sonic palette.
Martin's refined writing topics may be outpaced by the
band's guided adventure, but they're both indicative
that Coldplay are desperate to not just strive for the
title of great band - a title they seem to believe that
they're to the manor born - but to actually burrow into
the explorative work of creating music. And so the
greatest thing Coldplay may have learned from Eno is
his work ethic, as they demonstrate a focused
concentration throughout this tight album - it's only
47 minutes yet covers more ground than X&Y and arguably
A Rush of Blood to the Head - that turns Viva la Vida
into something quietly satisfying.
allmusic.com
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