Not even Brian Eno can make you U2...

For about the first 30 seconds of the opening track of Colplay's latest album, Vida La Vida, I thought I was listening to an old Radiohead album. Things shape up as the instrumental song progresses with the simple sounds of a dulcimer, guitar, and crescendoing into a grand chorus that sets the mood of a more global sound that the band set out to evolve into. "Life In Technicolour" supposedly is just the start of their grand aspirations, as reports already hint at a follow up LP release in late 2009 that bookends the decade with the completion of this track (and an album which will feature a collaboration with, surprise, Kylie Minogue?!)

Coldplay has often suggested in public that they aspire to be the heirs to the throne where U2 currently sits. And in some ways, you can compare this album a bit to U2's own evolution into a more worldly sound with Achtung Baby in 1991. Who better, than, to recruit U2's producer, Brian Eno, to shape the sound of Viva La Vida? His influence is apparent as early as the second and third tracks, "Cemeteries of London" and "Lost!" respectively, as Jonny Buckland seems to channel The Edge in sound (although perhaps not quite in scope).

I've actually had to listen to the album at least four or five times before really appreciating the slightly new sound. It's not that it's completely different, but just not quite as accessible as their usual work. It's not the full dramatic ballads and arena-filling pop sounds that was A Rush of Blood to the Head (which I feel is where Coldplay has peaked so far). Most songs are a bit more sublte. "Violet Hill" was an odd pick as their first single. Even perhaps the sweetest song on the album, "Strawberry Swing," might be a good light summer kind of sound, but not what you'd really expect to hear on the radiowaves. Perhaps the only obvious radio hit is their title track already featured on iTunes commercials, "Viva La Vida." Even this song, though, is a bit of a departure, invoking the feelings of a deposed king or queen in the 1700's and making it relevant to the changing time of revolutions, governments, and religions of the modern age. Whatever, it's more political rather than the usual Chris Martin-falsetto ballad about true love. Had Sofia Coppola made Marie Antoinette now, I'm sure this song would have been a perfect fit for her movie.

I'm a bit torn on my rating. Believe it or not, this actually started out close to "Bland" territory, but has quickly jumped to "Cheesy." Still not sure I'd ever give it a "Very Cheesy," but then again that's Achtung Baby territory, and I'm not sure Coldplay has hit U2 status with this one. Give me a few more days to listen to it some more, though. As I always say, it's the ones that grow on you that turn out to be the best.