Coldplay - X & Y

Genre rock Publisher Capitol Records External Links Official Site Capitol Records

It is inconceivable to think that Capitol Records is in such dire straits these days that they are banking on Coldplay to pull them out. While Coldplay are immensely popular (selling some 20 million copies worldwide of their two previous releases, Parachutes and A Rush of Blood to The Head), it seems a bit much to place such a burden on them. This unassuming band of four introspective Englishmen offer emotional songs filled to the brim with yearning and thoughtfulness, songs that feature soaring guitars and passionate vocals. This is not the sort of music that typically sells a million copies its first week out. But that is exactly the sort of magic number that Capitol is banking on to ensure their stability.

Amidst all this business talk, the band is fast becoming a focal point with music critics. Though some have been giving high praise with reservations, most of the talk places the album into one of two categories: masterpiece or musical wallpaper. Stranger than Capitol's digging their nails into the band for life support is the vitriol they are inspiring in some. Jon Pareles of the New York Times delivered a quizzical diatribe against the band recently, stating that the music is "supposed to be compassionate, empathetic, magnanimous, inspirational. But when the music swells up once more with tremolo guitar and chiming keyboards, and Mr. Martin's voice breaks for the umpteenth time, it sounds like hokum to me."

It's fair to say that Coldplay just isn't Pareles' cup of tea, but his denigration of the band in the article, with particular ire towards Martin, reveals his lack of ability to consider the compassion and empathy integral to the band's music. Or, perhaps more true, this reveals Pareles to be just another tired and angry rock critic. One who would appear scared to death of simple songs and their ability to tap into the emotions on a scale larger than he can either comprehend or tolerate. It's another notch in an endless litany of rock critics (see also scenesters) who are foam at the mouth when artists attain success.

X & Y is as strong and self-assured an album as the band's first two. This release features everything you already know and either hate or love about them. Granted, their interest in Kraut-rock via Neu! and their nicking (with approval) of Kraftwerk's "Computer Love" rhythms, not to mention their obvious fascination and adoration of the Berlin-era David Bowie/Brian Eno collaborations (doffing their cap to Bowie's Low, here with a song of the same name) reveal the band's willingness to attempt something new.

Though these inspirations never get in the way of what the band does best, which is to deliver music that ascends via guitar, soars vocally, and is grounded rhythmically. Coldplay make no claims to be anything more than what they are: a simple rock band. That's not to say that they aren't making a run for the title of "world's biggest rock band," far from it. They see the line that U2 are on and await the moment that the veterans fall by the wayside. But slow and steady is more Coldplay's speed. There is nothing evident that appears to stand in their way of this goal.