Producer: Brian Eno, Markus Dravs, Jon Hopkins, Rik Simpson

Released in 2008, Viva La Vida is the fourth album by British band Coldplay.  Having previously reviewed Coldplay’s earlier albums, I have become quite a fan of their material over the years, which is often low on the pretences which have swallowed up some of their peers.  I mean what’s so wrong with simply writing a bunch of accomplished love songs?  The gimmick this time around (if you can call it a gimmick) is hiring producer Brian Eno, whom is often brought on board to expand a band’s musical horizons, while accentuating their strengths and playing down their lesser points.  Over the years he has worked wonders with artists as successful and varied as David Bowie, Talking Heads and U2.

Therefore, it is somewhat surprising to find that Viva La Vida is a record which has not been entirely convolved, or manipulated by Brian Eno.  Simply put, Coldplay have not reinvented themselves, neither have they given sway to Brain Eno’s persuasive ideals.  Instead, Viva La Vida is quintessential Coldplay.  I am not saying that Eno’s influences on Viva La Vida cannot be traced, because they absolutely can, be it the stringent guitar riffs which sometimes dominate (Violet Hill), or the sweet as honey soundscapes which are sometimes brought into existence (Life in Technicolour and Lovers in Japan/Reign of Fire).  However, it is Chris Martin which remains the beating heart behind this rather spectacular band.

Life in Technicolour is as a scintillating anthem as any previous Coldplay opener.  It also enjoys the benefit of bookending the start of the album.  First impressions are always important and what a fantastic first impression is made here.  It is simply rapacious, devouring its slender running time and the record benefits from its inclusion.  It’s probably their best opener yet.  Vocals would later be added to its single release, from EP Prospekt’s March, but it is this original which remains the definitive cut.  The haunting 42 invokes strong imagery and could easily draw comparisons with the sombre piano ballads John Lennon penned at the start of his solo career.  That is, at least, up until the tumbling Radiohead-esque guitar riffs and divergent melodic motions, which throws 42 into an entirely different sphere half way through its running time.  “You thought you might be a ghost,” is the knowledge imparted by Chris Martin, “you didn’t get to heaven, but you made it close!”  Oh well, better luck next time!

Having been passed the Shimmering Baton of Melody (OK, so I just made that up but who cares) from Life in Technicolour, fifth track Lovers in Japan/Reign of Fire effervesces with an unspeakable beauty.  Such is its display of grandeur that I feel as if I am discovering it for the very first time upon each listen.  The second segment of the song, Reign of Fire, is equally lofty, and although a far more self-effacing affair it is quietly compassionate and touching throughout.  The Oriental flavoured Yes bustles with sweltering verses and a simmering chorus, “If only you’d say yes, whether you will’s anybody’s guess.  God only knows she won’t let me rest but I’m tired of this loneliness!”  True, at seven minutes long the droll rhythms as found during its final couple of minutes could have been dropped, otherwise it is a superb addition to Viva La Vida.

With its ambient introduction and punishing guitar riffs, Violet Hill brings two very different sides of the band to the table, the whimsical and the gravely serious.  Like a couple of watchmen on the guard, Chris Martin, in a war cry, belts out the chorus and Jonny Buckland breaks out Scary Monsters era Bowie guitar riffs.  Conducting the song beautifully, Chris Martin unabatedly dictates the strutting nature of this beast.  Strawberry Swing is an often overlooked gem on Viva La Vida.  Booming handclaps and Afro-beat rhythms aplenty, they provide a balance when paired alongside Martin’s animated vocal performance, which radiates warmth and receives you into its quirky embrace without a second question.  It’s my highlight on a much personally revered album.  As for the lyrics, they are to die for, “They were sitting in the strawberry swing, and every moment was so precious.  They were sitting, and they were talking in the strawberry swing.  And everybody was fighting…  (we) wouldn’t want to waste a thing!” The words are ever so congruous for a song of this nature.