Long Live Life

I know I said I wanted to write a review on an album that I just got, so here it is:


This is Coldplay's latest award-winning album (yes, I know, it's been out for a year already), entitled Viva la Vida or Death and All His Friends. It's their fourth studio album after 2005's brilliant X&Y. The band wiped the floor with the others at this year's Grammy Awards, nabbing seven nominations and walking off with three wins, including Best Rock Album and Song of the Year (for Viva la Vida).

So why does this particular copy have a different cover from the original (the one with Eugine Delacroix's Liberty Leading the People)? Because this is no ordinary Viva la Vida.


No, this is the deluxe version called the Prospekt's March Edition and includes the eponymous EP, which adds eight new tracks to the original ten.



The main album starts off strong with the lush instrumental track, Life in Technicolour (a complete version with the vocals is in the EP), leading into the dark Cemeteries of London. 42 is by far my favourite track of the album, with three parts - a deep, mysterious piano-and-strings opening, a brooding instrumental middle piece complete with fast-paced drumming and an uplifting final bit. And of course, who can forget Viva la Vida? The upbeat song about a former ruler reflecting his past glory always brings the spirits up on every listen. Violet Hill, on the other hand, brings the band a bit closer to its rock roots with the thunderous guitars. Bringing up the rear are Strawberry Swing and Death and All His Friends. Despite the ominous title of the latter, both these songs are joyous and rousing, a brilliant end to a glorious album.

The accompanying Prospekt's March EP complements Viva la Vida well, and they should - the songs on it were meant to go on the latter but were finished too late. Although there aren't many standout tracks apart from the fit-for-arena Glass of Water and the neat-but-ultimately-too-short piano piece Postcards from Far Away, they are a pleasant addition (apart from a slightly questionable and unnecessary rap section by Jay-Z on Lost+).

There are some minor problems, however. Although Chris Martin is an accomplished falsetto singer, his experimentation on singing in a lower pitch on some of the tracks, particularly on Yes shows that he is perhaps quite uncomfortable in that part of his vocal range. Also, sometimes his voice sounds muddled, almost like he's mumbling.

Still, it's hard not to like this album. It's so grandiose and atmospheric when it's at its best that you can't help but get carried away. Sure, some of the lyrics are downright gibberish, but who cares when the music's this good?