Reviewed by Mike Katzif :: 9 June 2005




The album starts off familiar enough with the voice of Chris Martin accompanied by ethereal ambience and the sudden jarring entrance of the drum groove. Not unlike many previous Coldplay songs, or U2 for that matter. This is 'Square One' from where the album is able to bridge the gap from A Rush of Blood to the Head to the X&Y era of the band. Not that these eras are really that different. Despite the near three years between albums, they have not progressed that much, just perhaps become more comfortable. Since the release of the bands previous studio effort, the group has been slingshot to the top tier of rock music's echelons and is largely considered the biggest band in the world. Though this might be true due to the success of the hugely popular single, 'Clocks,' we must remember the band has only been in existence for roughly seven years. They are still young, and this album reflects the first studio work released since their sudden ascent to stardom. It must be treated as such.

While overly reliable and competent as an album, the anticipation might have hurt the chances of true expansion. It seems that their over-exposure coupled with the army of groups who have imitated Coldplay-esque signature sounds might have watered down the pure appreciation of the original. Much of the album is exactly what one would expect from a Coldplay album and perhaps that is the catch: there are very few surprises. The orchestration of soundscapes is much more dense; the structure and arrangement of the tunes tighter. Yet it comes across as predictable, if not sometimes forgettable with the fast song-slow song sequencing. As such, each track tends to blends together in the album itself, not to mention their previous repertoire. Though most likely unintended, it plays as if the band is trying to compose music that holds up to their growth and expectation. Then again, you've got to give the people what they want.

But this is still a solid album. The band maintains that Coldplay flavor, while adapting their sound ever so slightly towards the arena rock sounds of 80's U2 and a tinge of new wave post punk of the same era. The lyrics and lyrical melodies from Martin are singable and for the most part memorable as are the punchy and delayed lead guitar lines. There are gems of this bunch, those that stray from the formula. 'Fix You,' has an emotional climax while the driving 'White Shadows' and 'Talk' provide outlets for soaring melodies of the vocals and guitars. The album closes with the acoustic tune, 'Kingdom Come,' allowing the set to fade out beautifully. This is a decently complex album with much nuance: tempo and dynamic changes ensure each song does not get lost in the mix. Coldplay puts out a solid effort, one that might have been a great album, had it not felt so safe.