Coldplay - X & Y

I have a tiny confession to make: I kind of had it out for this album before I’d even heard all of it. Mainly because my first impression of Coldplay’s latest was “Speed of Sound,” leading me to assume that the foursome had found their cash-cow (if you don’t think there’s at least a slight resemblance to “Clocks,” you should probably stop reading here). Thinking that X&Y would be nothing but regurgitation was not a fair presumption on my part, although not a completely unfounded one. While not really a B-side to Rush of Blood, it does resort to that staple “not quite U2” sound we’ve come to expect. Right from the opening echoes, you will notice one change intrinsic to most of the record: They’ve given up the splendid pianos from previous albums and opted instead for a more guitar-driven opus. And Jonny Buckland more than holds up his end. While on the last couple of efforts he played second fiddle to said piano, here he really steps into the spotlight in a more pristine and truly Edge-ian fashion (and in all honesty, makes the album). Another honorable mention is Will Champion, who’s equally fantastic all the way from the first seconds of “Square One” to the cool as shit cymbal crown/cowbell fill on “Low” (note, however, that it also could have been a half-empty beer bottle, I’ve haven’t confirmed that yet). If there is a handicap to this album, it’s none other than Chris Martin himself, who definitely fails to pull his weight. The vocals on X&Y are pretty hit-or-miss, with the highlights being the amorous “A Message” and album jewel “White Shadows.” On the rest, however, Martin doesn’t even try. Abandoning almost entirely his lovely mid-range, he cheaply throws around his sometimes-squawky falsetto for compensation. At least five out of thirteen songs feature him Ooh-ing the chorus in said octave. Lyrically, the album does show some depth, as in the aforementioned “Shadows” (We’re part of the human race/ All of the stars and the outer space/ Part of a system, a plan). But then there are times when it just smacks of laziness. Note the latest single, “Fix You” (When the tears come streaming down your face/ When you loose something you can’t replace/ When you love someone but it goes to waste). “Below…go…know.” “Soon…balloon…spoon.” What rhyming dictionary did he rip this off of? If you are a Coldplay fan, please don’t let my criticism get you down. It takes a few listens before X&Y really sinks in and starts to flaunt each song’s merits. While it features some of their most lackluster work, Coldplay do offer up some solid tunes, including the hidden “Till Kingdom Come,” (originally written for Johnny Cash) and the (relatively) dark “Twisted Logic.” None of it, however, will compel you to sing along like “Shiver,” or grip you with its progression like “Amsterdam.” Sadly, the majority of X&Y will simply melt into a bland radio rock amalgam, long forgotten when they release a Best-of. [www.coldplay.com]