Coldplay – Viva la Vida
Reviewed by Nolan Grey

Coldplay’s newest album, Viva la Vida, comes amidst promises and professions of departure from the past – a newer, different, and even dangerous album. For those hoping for such a change, lower expectations. The album is distinctly Coldplay, embodying the band’s negatives (read: lack of originality in the song structure and over-aggrandized lyrics) and positives (that is, melodious and safely enjoyable).

Life in Technicolor: 6.8

The first track, minus several Chris Martin ‘A-ohs’, is instrumental. Guitar, drum, and natural sounding synth combine to create a nice soundscape, with little to complain about. Brian Eno’s influence is more apparent here than elsewhere on the album, and works nicely as a lead track.

Cemeteries Of London: 6.0

After the first listen the song seemed unbearably bland. Two listens later the track became listenable. Now, on the 6th spin the song, with a little luck, Cemeteries may become passably enjoyable.

Lost: 8.5

Within the context of Viva la Vida, Lost is an excellent track. The organ sound brings about bad memories of X&Y, but an interesting drumbeat and melody quell such fears. The lead guitar sounds recycled, as do other sounds, but they work well together, and this song provides a nice reminder as to why Coldplay became so big to begin with.

42: 4.0

There may be some out there that will love this song. I however, cannot profess to be such a person. This track is so obviously ‘inspired’ by another particular band (hopefully without need of mention) that it is beyond me why they didn’t just opt to make a cover. Coldplay, like every other band has influences, however this song unfortunately claims more than mere influence.

Lovers in Japan/ Rein of Love: 4.8

Lovers in Japan is enjoyable but uninspired. Rein of Love is slightly worse. I have yet to decide on how to interpret the dual song, single track, but at the moment, I’m leaning towards thinking it was a good choice.

Yes!/Chinese Sleep Chant: 5.0

Yes follows the lead set by the previous track, with listenable, but not particularly noteworthy music. The production is excellent, and Chris Martin is certainly able, the song never reaches a level beyond mere contentment. Chinese Sleep Chant is more odd than anything else. The singer is either a new, female Coldplay singer, or Chris Martin’s vocals have been digitally altered in ways that would have been better left alone. The end result isn’t bad, but it isn’t good either.

Viva la Vida: 9.0

Much has been said about Coldplay’s overproduction and lack of originality in song structure. This song epitomizes both complaints, but does so by parlaying these weaknesses into strengths. The song is rich in sound, rather than overproduced, and the chord structure comes across as more of an anthem than a clichÈ. Chris Martin’s vocals provide an excellent melody, and, although the lyrics are unremarkable, the track is emotionally resonant.

Violet Hill: 8.7

With a driving piano, guitar, and drum beat Violet Hill is one of the better songs from the album. Along with the title track and Lost, this song deserves repeated listens.

Strawberry Swing: 6.6

This song comes off with a forced meandering sound. From the listlessness of the guitar to Martin’s lyrics, the song works to convince listeners that it’s an easy going, improvisational-style sort. The song, although certainly not the worst on Viva, never reaches this goal – too structurally rigid to fully embrace the mood it attempts to create.

Death and all of his friends/ The escapist: 6.3

The track’s first song is, for the most part, strictly Martin and piano. After two minutes other instruments join the track, but a climatic point is never really reached. Near the end an Andrew Bird ‘Fake Palindromes’ moment is reached, but the track sounds more disjointed than anything else. The escapist is a safely enjoyable, making the entire track a candidate for study music.

Remember the music video for ‘Fix You’? Chris Martin spends the majority of the video staring directly into the camera, walking slowly. It’s interesting to note that any song from this album, save possibly Viva la Vida, could be matched with this music video and come off looking intentional. For an album that promises to be new and different, this is never good. At the same time, a lack of the new isn’t fatal. Coldplay may not cover new terrain, but at least their familiar sound is enjoyable.

Album Total 6.57/10

 
You can pick up a hard copy or download the album here:

Viva La Vida

Coaxial – Coaxial
Reviewed by Mike

Coaxial is composed of vocalist Beegs Alchemy and instrumentalist/beat guy David K. This is their first full length release, which came out in summer of 2006. The self titled album flew under the radar of many review sites, so we are giving it our treatment.

1. It’s Not My Voice: 8.7

Kicks off with a gigantic choir sound with a hypnotic beat. Beegs angrily raps “It’s not my voice inside my head”, throwing a nod to Roger Waters art rock epic, “Brain Damage”. There’s a simple downscale piano riff interplaying with the choir which creates a feeling of power, yet uneasiness.

2. Accept Your Insanity: 7.0

Spinning beats travel around a mellow bass line, while Beegs sings about “trapped souls fighting for control”. A venomous track with a bewitching female vocal gently lapping against the harder parts.

3. Once Against: 8.0

“sophisticated mythology confuses me”. Beegs seems to be setting a theme of materialism and fighting some unseen power. The music is especially interesting, with Hollywood bluster and effects.

4. Recluse: 8.0

Trip hop beats mingle with downtempo guitar samples, creating a swirling atmosphere, perhaps a cease fire as those at war collect their dead……

5. Hello Andromeda: 7.0

Deep voice samples greet the “Andromeda”.

6. The Collapse of Polaris: 8.5

Fantastic interplay of beat, strings, synth lines and vocals creates an atmosphere of dread. “Nurturing the soft molecules of the demon’s glare”. I don’t know what the hell that is, but I like it.

7. The Obscure Torment: 8.0

Bright overprocessed synth lines open the tune, creating a paranoid, excited feeling. It doesn’t last long however as the track is under two minutes. Beegs seems to just be rattling off lyrics he thinks might fit. It works, however.

8. Illusion: 9.0

After the paranoia of “The Obscure Torment”, we are greeted with very soft guitar and trip hop beats. We’ve heard this sort of thing before, but this is well done – revealing David K’s audio-skills.

9. Dragonsnot: 8.0

The track opens with a gigantic “When the Levee Breaks” beat. Swirling synth lines and downscale tones create the feeling of dread/drama that seem to be this record’s trademark.

” I realized I was being watched by a girl wearing too much mascara
so I made and ugly face and tried to scare her”

It’s been a long time since I heard someone try and match “mascara” with “scare her”.

10. Strange Days: 6.0

” Is this simplicity or mass confusion”. Materialism, confusion, consume.

11. Document the Monster: 8.6

The intro sounds like alien creatures trying to communicate with each other, then an ominous beat kicks in, rotating in between this communication. Beegs wants us to “document the monster”, and the “data doesn’t compute”. It’s a mess out in space.

12. Mold: 9.0

A laid back, jazzy interlude that is the build-up before the final storm. Once again, Coaxial completely excels at creating an interesting atmosphere. It’s a musical reflection at what we just passed on the album, and a warning of what’s to come at the same time.

13. Galatic Tsunami: 9.0

The final storm. “Being able to recognize one molecule in the flow?”. This is a lament of the universe, down to it’s most minute detail. Is the human race dying off? Are aliens killing us off? Are we killing ourselves?

“the landscape… it’s changed, it’s public. You’ll live here, love it”. After this line, the song tails off into resignation with a sprinkling piano sound leading the way over what was, and what’s to come….and then it builds back up again into a fierce machine, defiant to the oppressing force.

Album Total: 8/10

Response Keywords after hearing this album:

Power, swirling, wordy, angry, dread, fight, excitement, adventure, hypnotic, ridiculous

Coaxial’s self titled is an fine piece of work, creating a unique mood and challenging the listener. Because of this it’s recommended for someone looking for a changeup from their regular collection. At points Beeg’s style feels like Rambo opening up on some enemy, but Rambo was a good shot, and so are Coaxial.

You can buy the hard version here:

Coaxial