Coldplay – X&Y (Capitol)

While everybody was busy looking for rock’s dreaded Next Big Thing in all nooks and crannies, crowning new bands each week in dingy British clubs, it’s all too fitting that the nice guys might finish first in this instance. The band’s exponential rise to stardom thanks to A Rush of Blood to the Head, along with a well-timed celebrity marriage have placed the group on the tongue of just about every music mind in the world. And of course with that type of (over?)exposure, a bold line separates the believers and non-. Chris Martin’s claim that Coldplay wanted to follow Rush of Blood with “the greatest album of all-time” only served to fuel the fire between the two sides. So, it’s doubtful X&Y, regardless of your opinion of the band, will change your stance one way or the other. Let’s face it: you’ve all got an opinion on Coldplay, and that’s that.

Detractors, at least give the band this: they could’ve thrown together a third album of knock-off versions of “The Scientist” and gone to Home Depot for industrial rakes to pull in all the hardware come Grammy season. Instead, they’ve become insistent on changing their stigma as an above-average MOR band. Chris Martin still dabbles in that life-affirming parasympathetic lyricism, with the (cliche!) added specter of marriage, parenthood, and maturation. All of which would be nauseating if he weren’t so goddamn coy about it. His voice has continued to improve throughout the group’s career, and he’s as adept at singing in falsetto as he is in his normal register. This has become an advantage, since the band is suddenly a flagship, arena-ready guitar-rock band–possibly inspired by a tour of America’s larger amphitheaters.

“Modest” is a word now completely erased from the Coldplay vernacular, as all twelve tracks on X&Y (not including hidden track, “‘Til Kingdom Come”) surge and soar. Which makes all of the magazine covers, “Is Coldplay the Next U2?,” sadly relevant. There are comparisons to be found with U2, mainly in the album’s guitar work. But there are equal ties to Eno, The Stone Roses, The Smiths, Ride, My Bloody Valentine, Doves, the Madchester scene, and (yes) Radiohead.

The most striking similarity between U2 and Coldplay is that Bono sang with urgency and captured the hearts of a generation, gaining an intimate bond with their fans. And now, with the entire planet inducting U2 into martyrdom, the music media is looking for someone to hang the hat upon. Certainly, Martin is good at pulling the urgent “let’s kiss before the world ends” shtick that made U2 so universally adored. Even moreso now that guitars are rising and falling while cymbals and massive drums surround him.

One of the immediately noticeable things about X&Y is that it carries the flag of a lot of Britain’s great artists of the last 25 years. In the current context of popular music, X&Y is surprisingly cutting-edge, adapting a braver sonic front than the band’s previous material. If it weren’t for Martin’s voice there would be no ties to your grandpa’s Coldplay. The third album is edgier, finding common ground with the recent revival of post-modern Brit rock and angular harmonies. Behind the anthemic burst of the new Coldplay for the first time appears droning synths and faux-string crescendos. Though not a predominant influence the almost haunting presence of Brian Eno lingers, as the band has veiled this album with glacial atmospherics.

Not to say that this is the be-all-end-all of contemporary music. As a matter of fact, the band falls into some familiar holes–”Swallowed In The Sea” is particularly atrocious lyrically, even compared to Martin’s typically mediocre writing. And it actually takes X&Y a couple of tracks to begin to find its pace. Not to forget, you know, this isn’t the first good guitar record, and it won’t be the last. But Coldplay continues to establish the foundation of a solid career, and the few shortcomings on X&Y hardly detract from what is an exceptional album otherwise. It’s hard to fault a band when they make a concerted effort to evolve, and Coldplay continues to get better with age. Really, X&Y sees Chris Martin finally toying with an important concept–you can’t give voice to history if you speak in a whisper.

Coldplay – Live 2003 CD & DVD (Capitol)

For anyone who ever doubted Coldplay’s musical authenticity, this CD/DVD combo is a firm “What were you thinking?!” slap across the face. As everyone else who was with Coldplay all along should know, Live 2003 represents the culmination of their career thus far and must not be overlooked.

Coldplay also released Live 2003 as a CD-only album, but the bonus DVD, which contains over 90 minutes of footage from Sydney, Australia’s Horden Pavilion as well as a tour documentary and song lyrics, is what makes this release so notable.

Besides featuring an additional five songs that aren’t on the CD – “Daylight,” “Trouble,” “Don’t Panic,” “The Scientist” and “Life is for Living” – the DVD’s cinematography is excellent and the visual quality stunning. Alternating between shots from the crowd and from the stage, the video not only places the viewer in the position of the fan, but also offers a VIP view of the entire concert experience. Throughout the show, the crisp live recording captures each instrument, including the vocals, at the utmost clarity and with calculated balance.

Although lead singer, guitarist and pianist Chris Martin gets the most face time, he deserves the attention. The video establishes him as an enigmatic frontman with an amiable yet intense personality and remarkable stage presence. His musicianship, as well as the rest of the bands’, is seemingly perfect within the Britpop/dream pop/rock confines that they operate. On both the album and the video, the group sounds very tight and rehearsed, yet also satisfyingly expansive. Arena rock can indeed be a passionate affair.

Both collections of songs feature a mixture of singles and deeper album cuts, as well as two unreleased songs – “Moses” and “One I Love.” Musically, the most invigorating moments come when they expand upon their style to a psychedelic, Pink Floyd-esque jam. Guitarist Jon Buckland fits into this mold perfectly with his occasional wailing, almost ambient single-note leads. Guy Berryman’s droning yet dynamic bass lines tend to carry the melodies and play well off of Martin’s vocals and the chunking rhythms laid down by drummer Will Champion.

The quieter moments, which often feature Martin alone with his piano and his fabulous voice, are unfortunately less enjoyable when mediated and were likely more stirring at the concert itself.

The album’s standout selections include “A Rush of Blood to the Head,” “Shiver” and “See You Soon.” The video also manages to breathe new life into the previously overplayed singles “Yellow,” “Clocks” and “The Scientist,” all of which are quite impressive in modified live form.

After only two studio LPs, the members of Coldplay have established themselves as world-class musicians. Live 2003 showcases all that they’ve been able to accomplish and would be a worthy purchase for just about any music or concert video appreciator, as it proves that moving, dramatic and heartfelt rock can still be done well and without cliché. Coldplay fans, you were right all along.

Also, check Johnny Loftus’ review of a Coldplay show from way back in February, 2001.