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Coldplay's "X&Y" shows real progress |
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Written by AUGUST FORTE
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Thursday, 23 June 2005 |
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Coldplay’s 2000 debut “Parachutes” and 2002 follow-up “A Rush of Blood to the Head” managed to sell a combined 20 million copies worldwide, earning the band 4 Grammy awards, miles of press and a fervent global following. They were compared constantly to Radiohead, U2 and Echo and the Bunnymen – arguably three of the most celebrated UK-based groups of the last 25 years – by rock critics and tastemakers. It is understandable, then, that the world was holding its breath in anticipation of “X&Y.”
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Coldplay
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 Entertainment
 Art
"X&Y"
(Capitol)
Released June 7, 2005
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18 months in the making, “X&Y” delivers on many of the promises made albums one and two. Opener “Square One” is heavy on the atmosphere, as Chris Martin’s Thom Yorke/Ian McCulloch-inspired vocals soar over washes of guitar and synthesizer. “What If” presents itself as a U2-style ballad of heart-on-sleeve poignancy before reaching a soaring, orchestral climax. “White Shadows” offers up some Bunnymenesque shimmer courtesy of guitarist Jonny Buckland, who shows real growth as a musician here, and elsewhere on “X&Y.”
Further along, “Fix You” and title track “X&Y” are both musical standouts, but perhaps more interesting for Martin’s examination of the caretaker/husband/father/lover role. He writes with a guarded optimism about fixing/repairing the damage that we do ourselves and loved ones, holding out for hope that “lights will guide you (us) home.”
The album’s first single, “Speed of Sound,” is the closest thing to a “hit” that casual listeners will find – 4:49 of that classic pretty/powerful Coldplay dynamic. “Swallowed in the Sea” is a musically sparse assessment of the rocky ebb & flow of relationships. Hidden track “’Til Kingdom Come,” reportedly written for, but never recorded by, Johnny Cash, is a nice bonus, even if it bears little relationship to the album proper.
Coldplay shows real progress with “X&Y.” There may not be anything as instantly catchy as “Yellow” or “Clocks,” but one senses that the band was walking a tightrope during the long and problematic writing/recording process, taking deep breaths before each tentative step. Powered by AkoComment 2.0! |
