After songs like "Yellow" and "Clocks" became ubiquitous, I kept waiting for the inevitable backlash that would result from the instant celebrity status that surrounded the band. It came quickly -- "Radiohead ripoffs," "pop pandering," "U2 wannabes", etc. Yet there was something that compelled music fans about Coldplay, whether earnestness, or the return of the piano to rock music, or the spiritual nature of Chris Martin's lyrics, I'm not sure, but something about them drew you in.
On their third album, X & Y, Coldplay attempts to shake off the "Radiohead meets U2" label that has adhered itself to them, and instead relies on earlier influences from the '80's, such as Kraftwerk, New Order, and Kate Bush. Granted there is the occasional channeling of the Edge on a few solos, but that isn't necessarily a bad thing.
"Square One" is an obvious nod to New Order and synth-driven bands of the day, while "What If" is a piano ballad, possibly addressed to Gwyneth Paltrow, about the fear of losing love. It is alternately moving and boring, depending on your mood, and uses simplistic rhymes not unlike early Police songs.
Insecurity and a search for reassurance seem to be the theme of the disc. "Fix You," which is sung in much too high a key, falls along these lines, as does "The Hardest Part," which should donate royalties to Adam Clayton for its bass line. "A Message" and "White Shadows," the best of the lot here, reveal some Echo & the Bunnymen in Coldplay's background as well.
"Speed of Sound" was the first single, and owes a lot of its sound to "Clocks," from the last album. That is one of the bigger problems with this disc -- a lot of the songs seem to derive from each other. "Swallowed in the Sea" is basically a faster version of "What If" with different lyrics. "Talk" is another U2/Echo based track that fares a little better in translation.
After Parachutes and A Rush of Blood to the Head, I was prepared to go over the top and become a total raving fanboy for Coldplay. And truth be told, if it weren't for the bar they set for themselves with those albums, I'd probably have a more favorable opinion of X & Y. The sad fact, though, is this album is Coldplay playing it much too safe. Their success came as a result of sounding new and different. Without breaking new ground, they will fall into the same area as Keane and Blue Merle, and interest will fade (at least for me). X & Y had me prepared for greatness, but unfortunately, it's just pretty good.
3.5 tocks
Other coverage for this album
Decapolis September 2005Reviewed by John DurkeeColdplay has been called many things in their career. They've been named the next Radiohead. They've been praised as the next-big-thing. They've even been reduced to being stated simply as Brit Pop, but X&Y is a departure from these labels. It has more of a U2 influence than Radiohead, they ARE the big thing and it's far from boring and doesn't sound like a typical Brit Pop band. When I heard…The Phantom Tollbooth 2005Reviewed by Steve StockmanThere has been a lot of talk about this Coldplay album; probably too much talk. "They need to prove themselves." "They need to make their Joshua Tree." Third albums by bands who have done something interesting with their first two and gained popularity alongside it are put under too much pressure; way too much pressure. It has to be said that Coldplay haven't helped themselves with their chat…The Phantom Tollbooth 2005Reviewed by Nick MattiskeExpectations for Coldplay's third album were high after the now classic masterpiece A Rush of Blood to the Head. But their "everyday guy" status (despite Chris Martin's Hollywood connections) has helped them remain confident in the musical space they mapped out on A Rush of Blood.... Unlike, say, Radiohead, whose mega-success saw them retreating into their art-school roots. Coldplay's confidence…Similar sounding releases
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