Album Review: The End Is Not The End by House of Heroes

By James Grimes

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Summary:  A poetic, youthful, energetic, and intelligent post-punk Alternative Rock album that far exceeds expectations.  This cements House of Heroes, in my mind, as one of the best Christian bands since Petra.

Art Assessment: Gritty, with turn-of-the-20th century overtones.

Review:  House of Heroes is something of a punk band.  The members are all young Christians.  They consider their primary influences to be Muse and The Beatles.  ‘The End Is Not The End’ is their fourth full length album… and it’s very highly acclaimed.  Though the band hasn’t become a massive hit yet, if this album is any indication, they are destined for greatness.  So let’s dive into the music, track-by-track.

‘Intro’:  Thirty seconds of instrumental, a string prelude.  Not much to say here, except that it’s promising.

‘If’:  The punkness of the band is immediately evident.  The lyrics, though, are the main focus, enunciated very clearly and forcefully, not just in this song, but in every other song in the album.  And we should thankful, because the writing is full of wit, humor, and a rare kind of balanced youthful angst.  This particular song is something of a parody of the head-over-heels-in-love song that’s so common, with literary and cinematic references to support the humor.  And it’s darn catchy.

‘Lose Control’:  If you felt the previous song was not hard enough rock, this one will give you your fill.  This is pretty clearly all a first-person declaration of being… an enigmatic sinner, who strives to do good.  To quote, “I am the death that makes your life seem good/I am the pain that brings you close to God/I am the prophet warning of the flood/I am the answer you misunderstood/I am the answer that you misunderstand/I do the evil that an honest man can’t/I live in shadows that the enemy casts/I have no future and I have no past”. It’s that balanced angst I was talking about, and it’s awesomely well done.

‘Leave You Now’:  Now we return to the love theme, but since this is House of Heroes, it’s presented with a twist! I mean, how many punk/alternative/Christian/rock bands do you know that will sing a love song from the position of a man in a concentration camp, who longs to escape with his girl to America?  It’s just as infectious as the previous tracks, and it’s got it’s own great personality.  I’d buy that for a dollar.

‘Dangerous’:  Another great love song, this one is more vague and laid back.  Not my favorite, but by no means bad.

‘In The Valley Of The Dying Sun’:  Here we get our first taste of the more complex pieces that the Heroes can deliver.  It tells the story of a soldier — in a parabolic way — who finds peace with God as he struggles to reconcile what he’s done in war with the kind of man he wants to be.

‘Code Name: Raven’:  Another awesome, war-themed song, this time from the point of view of a spy in the Second World War.  It’s a great blood-pumping anthem, almost like the theme to a TV series.

‘By Your Side’:  A song about two close friends or brothers who grew up at the turn of the 20th century and ended up dying in the Second World War.  The song is where they draw the title for the album, as seen here: “And like that sand through our hands/Go our grandest plans/And just to see your face for one moment/I’d cross the ocean again/The end is not the end.” Musically, this song is more laid back, and is acoustic-led.  Kind of tearjerking.

‘Journey Into Space, Pt. 1’:  A melancholy song of a man who falls in love during the war, and they both face the threat of imminent death — possibly for being on opposite sides.  It’s amazing how hopeful the Heroes can keep their music in the face of such heavy themes.

‘Sooner Or Later’:  Despite the fact that there is currently no Part 2 to the previous track, this one seems to wrap up the story, having much the same theme, and seeming to show that the lovers get out of the line of fire in time to go home.  Or at least that more hope is opened up.

‘Baby’s A Red’:  Yes, yet another love song, but given that this is House of Heroes… well, there’s another twist! A humorous track, that involves a Cold War theme with clever lyrics referencing McCarthyism.  Being in love with a ‘Red’ isn’t the easiest thing in the world, apparently, but the protagonist is pretty darn happy about it.  This includes a string instrumental interlude that was also used as the intro track.

‘Drown’:  Switching abruptly from the string of love songs, we’re suddenly into universal themes.  It tells of a world flooded, metaphorically, with destruction, and of the protagonist’s efforts to warn the world.  Perhaps this is meant as a companion piece to ‘Lose Control’?

‘Faces’:  This one brilliantly handles the issue of lust, with a solid, fun set of lyrics that keeps it from seeming like preaching.  It’s a great one to reflect on after so many love songs.

‘Voices’:  In a kind of 1930s horror movie theme, speaking of a protagonist who considers himself a monster, a murderer, haunted by his past sins.  In one of the most overtly Christian sections of the album, there is a soundbite from a sermon, that teaches a powerful message about guilt.  And believe it or not, it works marvelously in the song and with the theme.

‘Field Of Daggers’:  Returning to the theme of war, this time referencing an eternal struggle between good and evil.  It’s got some of the best guitar work on the album, and impassioned vocals declaring glory to God, as “He was and is/He is and is to come/He holds the key.” The album then closes on strings… or does it?

‘The Young And The Brutal’:  The final track is hidden, and reflects the most obvious punk influence.  It is literally a song about young punks, but seeing that this is House of Heroes… okay, you know the rest.  It’s short, sweet, and just as good as anything else on the album.

So, when it’s all said and done, what did I think of ‘The End Is Not The End’?  Well, at the risk of sounding unoriginal, I’d like to quote AbsolutePunk.com, who in regards to this album, wrote:  “…it’s a record with so much going for it, in terms of quality, quantity and intelligence, substance, etc. … that it’s destined to be the blueprint for how pop music can and should be done, but most likely won’t. Open your eyes, pop music creationists: this is how you do it right.”  Amen, and amen.  Not only is this an exceptional Alternative Rock album, it manages to send a clear Christian message without being pedantic and overbearing.  It’s beautiful, fun, funny, moving, rocks hard, kicks ass, takes names, and wins me over.  Long live the Heroes.

Album Review: X & Y by Coldplay

By James Grimes

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Summary:  Though not as awesome as it could have been,  Coldplay’s third hit boasts great Electronic Rock paired with intelligent, sometimes cryptic themes.

Art Assessment: Slick and strange.

Review:  After their mostly acoustic and piano led success ‘A Rush Of Blood To The Head’, rising British Alternative Rock band Coldplay released a more electronic and Kraftwerk inspired album, ‘X & Y’.  Instead of going into a whole lot in this introduction, let’s dive in.

‘Square One’:  This a good opener for the album, introducing the band’s new direction.  The theme of the song is rather mournful, referring to someone who finds themselves either unable to move forward into their dreams or under the impression that they are thusly stuck.

‘What If’:  A more quiet, romantic song that hearkens back to the previous ‘A Rush Of Blood’ success ‘The Scientist’.  The protagonist of the song wants to connect with the one he loves, or else his world would essentially fall apart.

‘White Shadows’:  Jumping back into the electronic fray, this one tells the story of the protagonist losing innocence and becoming part of The System.  What he desires now is take the people who he loves out of the emptiness of this controlled life.  Or at least, that’s my interpretation of the lyrics.

‘Fix You’:  A simple, romantic song, beginning with organs and ascending to become an anthem.  It’s beautiful, moving, hopeful, and mournful all at once.

‘Talk’:  This track has the most obvious Kraftwerk influence.  Coldplay borrows the riff from ‘Computer Love’, one of their more famous songs, and adjusts it for clever use here.  This song is about the break up of communication, perhaps between the general population of the human race.  The idea being that, if we achieve true dialog, we can realize what we were meant for, and the inherent creativity and God-given glory of the human race can be restored.  It’s a compelling, catchy, mysterious song.  One of my favorites of all their work.

‘X & Y’:  This one strikes at the same themes expressed by the previous two themes, as kind of a joint sequel.  This one makes me think of long car rides, falling asleep as you drive past snow covered trees and lamp posts, as everything blurs together…

‘Speed of Sound’:  Both lyrically and musically, this is the closest we’ve gotten to a sequel to the hit song ‘Clocks’, off their previous album.  This one refers to the wonder of life, though in a very intriguing, intentionally cryptic way.  It’s supposed to draw you in.  It succeeds marvelously.

‘A Message’:  Suddenly we are back in the acoustic wonderland of ‘A Rush Of Blood To The Head’, and though that’s not unwelcome, it feels kind of out of place.  Thankfully, though, the electronic backup soon returns about a third of the way into the song.  Unfortunately, this is where the album feels repetitive, in a bad way.  It’s another straightforward love song, yet again about communication.

‘Low’:  A great tune, with more of the Kraftwerk feel that I personally enjoy, but again the lyrics refer to the same basic themes.  Only this time, there’s more emphasis on letting go of perfectionism and embracing the beauty of the world’s design as it is, as a key to hope.

‘The Hardest Part’:  This one sounds a bit more bubbly and happy than the previous few tracks, so it helps defuse the greatest threat to an album’s integrity: boredom.  This song is absolutely key to killing that problem in ‘X & Y’.  This one is happier in tune, yes, but it still deals with the introspective acknowledgments of the songwriter, and never strays too far from the overall themes.

‘Swallowed In The Sea’:  If you really pay attention to the lyrics, this is one of the strongest songs on the album.  Two people encounter loss of hope in their relationship, and this is a poetic plea for their love to be restored.

‘Twisted Logic’:  This song is amazing.  It’s my personal favorite of this release.  Unlike the rest of the songs, it’s dark and somewhat angry, while remaining cryptic, and you just get caught up in it.  It’s got huge scope, in contrast to the personal nature of much of the rest of the album.  It’s a great touch, and I think a great teaser for the next album, ‘Viva La Vida’, which shares its thematic darkness.

‘Til Kingdom Come’:  This hidden track makes a tearful goodbye, not really to the album, but to the person who was supposed to sing it… Johnny Cash.  This was going to be one of his last songs, but he passed away before he could perform it with Chris Martin, Coldplay’s lead singer.  It’s beautiful, elegant, and very strong and memorable.

So now that it’s all said and done, what do I think of ‘X & Y’ on its own merits?  Well… very good, but not as strong as it could have been.  It teeters on the edge of becoming boring, especially near the end.  Nevertheless, armed with rich lyrics and strong rhythms, it is an excellent release and a must-have for fans of electronic and Alternative Rock.

Album Review: Who’s Next by The Who

By Patrick Zabriskie

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Summary:  Though not exactly the best album ever made, this album is still fulfilling in its own right.

Art Assessment: Offensive, yet eyecatching.

Review:  The Who are hailed as one of the greatest rock bands ever to strap on their instruments only to smash them into oblivion after their shows.  Their powerful live performances combined with a number of legendary songs make them a force to be reckoned with — even as they enter their senior years.  Over a career that spans in excess of four decades, The Who have released a number of genre defining albums including no less than two full-scale rock operas, the celebrated Tommy and Quadrophenia albums.  Nestled in between these two grandiose affairs is their 1971 (un-operatic) album Who’s Next.  Though unbalanced (this album contains both some of the band’s strongest songs, as well as some of their weakest ones), it still has a powerful and lasting effect.  Now, let’s look at it song by song.

“Baba O’Riley”:  Perhaps the greatest opening to an album, ever, this song is well remembered for its staccato synthesizers and the famous three-chord piano piece that begin it.  It is soon followed by an explosion of guitar, bass, and drums, before ending with a bizarre and surprisingly affective string section.  With vocalist Roger Daltry singing of “teenage wasteland”, this song became an anthem for a disillusioned generation and is popular to this day.

“Bargain”:  A gem of this album, Daltry sings of finding lost love, while guitarist Pete Townshend riffs away on his guitar. A pleasant “soft section” is featured in the middle before returning to full out rock at the end.

“Love Ain’t for Keeping”:  Townshend delves fully into acoustic guitar on this short track. With pleasant lyrics about a man and his wife, this song is quite relaxed and easy-going.

“My Wife”:  Musically, this one is fairly forgettable; the band jams away only to be accompanied by an out-of-place brass section. Lyrically, however, it’s fairly comical, as Daltry compares his wife to a killer coming to “get” him after a few days of shenanigans.

“The Song is Over”:  Ironically, this is the second longest song on the album, and unjustifiably so.  It drags on and on while Daltry laments about breakup and starting over.  The piano, which is the main instrument in this song, is rather tastelessly employed and, again, over stays its welcome.

“Getting in Tune”:  The second song in a row to prominently feature the piano; Daltry now sings of finding love and “getting in tune” to a new woman.  Interestingly enough, these past four songs appear to indicate a loose series of events.  Townshend claimed this album had its roots in yet another rock opera, and these songs may be the remnants of it.

“Going Mobile”:  This song is simply annoying.  The lyrics tell a story of travel, but it all feels forced and slightly unenthusiastic.  Even the wah-guitar solo at the end doesn’t save it from mediocrity.

“Behind Blue Eyes”:  Lyrics of alienation, mistrust, and rage fill this folksy tune.  The folk appropriately turns to rock as the anger rises.  This song is an excellent change of pace after the tasteless “Mobile”.

“Won’t Get Fooled Again”:  Synthesizers, once again, begin this song, and Townshend’s guitar is heavily featured.  Lyrics of revolution and hope of a new world turn out to be very inspiring, and this is a fine way to end the album.

Overall, this album represents a full range of song quality, from bad, or I should say mediocre, to amazing.  Of the disappointing songs, I feel they were simply added on as filler, in order to make the album a more appreciable length.  Unfortunately it doesn’t work.  The ultimate affect is an album with truly amazing songs that has its momentum interrupted several times.  The classic status bestowed upon it, I feel, is done in spite of rather than in addition to the poorer songs.  That said, even if you’re not a Who fan, I still recommend this album because the spectacular numbers off this album do, in fact, make up for the weaker ones.  While far from perfect, this is a strong piece and is worthy enough for any serious rock and roll fan’s collection.

Album Review: Never Say Die by Petra

By James Grimes

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Summary:  Legendary Christian rock pioneer band Petra’s first really successful album not only paved the way for every Christian rock band in the future, but it is truly good in its own right.

Art Assessment: Promising and cool.

Review:  In the 1970’s and 80’s, many former hippies were becoming Christians.  They naturally didn’t mesh with the mainline dogma of American Protestantism, with their social gospel, communal lifestyle, and love of “devil” music, specifically rock & roll.  Artists such as Keith Green and DeGarmo & Key managed to make some headway for “Jesus music”, as the hybrid style was called, but they maintained a strong gospel music sensibility.  While they were doing their thing, however, in 1972, in Indiana, guitarist Bob Hartman and a few friends (none of these folks, Bob included, were hippies) organized a little band called ‘Petra’.  Their style, initially, was southern rock, and they played in clubs and church venues.  Their first two albums were met with little to no success, unfortunately, due to resistance from major Christian leaders who still opposed their genre of choice, and from the fact that they were not touring.  After being dropped from their label and picked up again by another not too long afterward, they were pressed to soften their sound.  They were no longer southern rock.  This release, known as ‘Washes Whiter Than’, managed to get some success, at long last.  Christian radio stations started to give them airtime.  After dropping and adding band members, and confident with their new lineup, Petra returned for the album ‘Never Say Die’, which began their rise to success, as one of the most influential and artistically excellent Christian artists ever.  Now, track by track, here’s a breakdown of this monumental 1981 release.

‘The Coloring Song’:  Featuring flutes, soft vocals from now-lead vocalist Greg X. Volz, and mellow acoustics, it’s a very unassuming introduction, and one of Petra’s biggest surprise hits.  The lyrics are concerned with the basics of Christianity, specifically the gospel, told in a very simplistic, child-like manner.  Musically, it most closely matches the precedent they set in their previous album, and doesn’t sound very much like the driving rock the band would become known for.  However…

‘Chameleon’:  As the first track fades out, a super fast guitar riff suddenly plays, announcing that this is in fact a rock album.  Greg X. Volz further warms us up to this fact by giving a long, sustained, passionate yell.  The lyrics are a plea for the lukewarm Christian heart to choose between good and evil, once and for all.  We know immediately that the southern rock feel of the very first Petra album is long gone, and it had been fading ever since the second album, after all.  This song is impressive and fun, but not the best track on this album.  That goes to…

‘Angel Of Light’:  After impressing us once, they step it up and deliver a truly quality classic rock performance, which is one of my favorite Petra songs of all time.  It’s a direct challenge to the devil, with clever satire, clear vocals, driving rock, and eerie organs.  It’s legitimately Christian and legitimately rock, all that Petra would hope to be.

‘Killing My Old Man’:  Despite referring to the “old man”, meaning the darkened nature of the regenerated person in Christian theology, the song was cautiously kept off a previous Petra album, ‘Come And Join Us’, for being rather audaciously titled.  This one is keyboard-led, and is not quite as impressive as ‘Angel Of Light’.  Nevertheless, it’s the third strong rock song of the album, and by now the listener has settled into it.

‘Without Him We Can Do Nothing’:  This one takes a joyful turn after the angst of ‘Killing’.  This was one of the few songs written by vocalist Volz, notable due to the fact that Bob Hartman provided most the songwriting for the band’s 33 year career.  ‘The Coloring Song’, this track, and and the very last track were written by folks other than Hartman.  The lyrics on this song are a straightforward declaration of the Christian’s reliance on God.

‘Never Say Die’:  The title track, continuing the encouragement theme, is good, but the album feels like it’s losing steam by this point.  This is not a common ailment that afflicts Petra albums, however, so it’s probably due to the fact that they were trying to play it safe.  Not that I blame them, however, considering the pressure from all sides.

‘I Can Be Friends With You’:  Another one of Petra’s bigger radio hits, I personally find this one kind of annoying after a while.  It’s cheerful, keyboard led, and awfully repetitive.  That’s not to say it’s a bad song, but it’s not the kind of thing I find too enjoyable.

‘For Annie’:  A major departure from the rock of the rest of the album, this melancholy plea is much more like the popular Jesus music ballads of the day, with a string backing and strong vocals.  This one is good, but it’s odd for Petra.

‘Father Of Lights’:  Well, it turns out they couldn’t stop the rock.  Another cheerful, God-centric, laid back entry, kind of a Summertime driving song, if that makes any sense to you.

‘Praise Ye The Lord’:  Petra goes out on an enthusiastic note, with an out-and-out praise song.  Another great Petra classic.

So when it’s all said and done, almost 30 years later, is ‘Never Say Die’ still a good album?  Well, obviously, tastes have changed.  To many thirsting for a hard rock album, you won’t find it here, except in three tracks.  Three exceptionally solid tracks, remember!  Overall, it’s an incredible accomplishment and a milestone in Christian and general music history.  Petra walked the line, and despite the backlash, broke into new ground.

Album Review: Led Zeppelin IV by Led Zeppelin

By Patrick Zabriskie

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Summary:  Arguably capturing the band’s finest hour, Led Zeppelin’s officially unnamed fourth album captures all of their variety, mystery, and uncompromised musicianship.

Art Assessment: Enigmatic and folksy.

Review:  What hasn’t been said about this album?  It is a staple of classic rock, a milestone in atmosphere and production, and one of the highest selling records.  Ever.  But most importantly, this album is made up of truly awesome and well-written songs, and it’s the songwriting above all else that makes Led Zeppelin IV so great.  Without further ado, lets jump in and check ‘em out.

“Black Dog”:  This song is pure hard rock with a slight blues tinge.  Vocalist Robert Plant laments about a conning woman in this energetic opener.

“Rock and Roll”:  A celebration of original rock and roll, Led Zeppelin mixes their banging drums, distorted guitars, and screeched vocals with the classic 50’s style.  The piano solo at the end is quite infectious and puts this tribute over the top.

“Battle of Evermore”:  The mighty ‘Zeppelin calms things down quite a bit on this folk tune.  Acoustic guitars and mandolins weave a tapestry of ethereal melodies while Plant sings of a Tolkein-inspired fantasy.  Guest vocalist Sandy Denny accompanies Plant on the vocals, providing for some great contrast in the song.  This is my personal favorite on the album.

“Stairway to Heaven”:  Shortly after “Evermore” fades, the famous chromatic descent of “Stairway” begins.  The song starts out as relaxed folk before beginning its gradual ascent to a hard rock climax.  The lyrics are as introspective as they are mythical, and the solo at the end is the stuff of pure emotion.

“Misty Mountain Hop”:  Returning to a more straight up rock sound, this songs features some impressive organ work, as well as powerful accompaniment from guitarist Jimmy Page.  Plant again references Tolkein’s work in the lyrics, which are also reportedly about drug use.

“Four Sticks”:  Again fairly straightforward rock; this song features a strange synthesizer solo towards the end, which is almost transcending in its affect.

“Going to California”:  Led Zeppelin returns to folk one last time in this pleasant little piece.  Robert Plant returns to more down-to-earth lyrics about love, loss, and starting over.  Jimmy Page and John Paul Jones woo us with their skilled and delicate string work.

“When the Levee Breaks”:  This song is, in fact, a cover of an earlier blues tune, but it has now been infused with Led Zeppelin’s more powerful guitar/drum propelled sound.  Robert Plant almost hauntingly recalls a devastating flood of the Old South.  Worthy of note is the heavy use of the harmonica in this song.  This song ends the album in a very strong and satisfying way.

This was the album that really put Led Zeppelin on the map.  Finally shrugging off the condescending views of various critics, most of what they touched after this effort seemed to turn to gold for them, and in many ways, rightfully so.  Led Zeppelin is a band that can write very effective, if not also varied, pieces.  Though many identify this album with fantasy and mystery, I find a simpler, if also more hidden, one.  Many of the songs on this album are sad in the way that their characters have been cheated or are down on their luck.  But as the lady at the end of “Stairway” wishes to show, “…everything still turns to gold.”  I find myself, then, given a bit of hope to keep on keeping on, even in the reality of pain and heartbreak, to find that after the storm, there may just be my own bit of gold waiting.

Album Review: Viva La Vida by Coldplay

By James Grimes

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Summary:  A great battle between life and death is played out in subtly, wit, emotion and energy.  Great hooks, thoughtful lyrics, and a lasting impression of hope are given to the listener.

Art Assessment: Classy, bold, and striking

Review:  Coldplay has, for the first decade of the new millennium, wowed lovers of alternative rock consistently.  Last year’s ‘Viva La Vida Or Death And All His Friends’ was by far my favorite of their works, thus far.  I honestly haven’t heard all of ‘Parachutes’, though, so that may change.  Nevertheless, it’s great, and song-by-song, here’s why.

‘Life In Technicolor’:  Slowly building up into a gorgeous swirl of soft electronic keyboard sound, it’s a great way to start it up.  It establishes an ethereal, introspective tone for the whole album.  There’s no lyrics, only a couple background vocals, and they quickly dissipate as it fades into…

‘Cemeteries of London’:  This track is dark, and quite enigmatic.  This is where we first see the major themes of the album: Life, death, and the constant choice between them.  The people that the lyrics speak of are lost in darkness, a kind of living death, because their hearts are not open to God, the source of life.  Coldplay is not a Christian or religious band, but here we see evidence of sympathy with Christianity’s central ideas.

‘Lost!’:  This song is about, well, being lost.  In a mental or spiritual sense.  It’s also about holding on, persevering, despite this fact, and looking for home.

’42’:  My personal favorite song on the album.  Its sound, simplistic and piano-driven at first, leads into an awesome guitar riff.  The lyrics are concerned with grief.  The protagonist of the song is being held down by the memories of “those who are dead”, who are “living in my head”.  The second half of the song is a bit more difficult to discern.  Here’s what’s sung: You thought you might be a ghost… you didn’t get to heaven but you made it close. This, which sounds mournful on paper, when contrasted with the hopeful tune, seems to indicate one person in grief encouraging another.  In any case, it’s awesome.  Why is it called ’42’?  Because a lot of bands, such as U2, have at one time had certain songs that were inexplicably called by random numbers.   So Coldplay did it… because they could.

‘Lovers in Japan/Reign of Love’: Light, airy, mystical and adventurous, it’s a relatively straightforward love song, but seeing that this is Coldplay, the lyrics have that extra layer of depth.  Not a disappointment, but not my favorite song on the album.  The second half of the song switches gears and is much more calm and reflective.

‘Yes’:  The darkest track on the album.  The protagonist struggles with sexual temptation in an intimate relationship with a possible future wife.  He’s trying to get her to say “Yes”, but her reluctance is making it hard to keep himself pure before marriage.  A “hidden” song appears after the song draws to a close, and it’s clear why it was placed directly afterward.  Airy and hard to discern lyrics repeat behind thick, melodic guitars and percussion.  The name of the song is “Chinese Sleep Chant”, and it seems to be intended to show the emotional satisfaction in the protagonist’s heart when she finally does say “Yes”, but that’s just my assumption.

‘Viva La Vida’:  The title is a Spanish phrase that translates as “long live life”, but the song itself isn’t a celebration of life so much as a lament.  A mighty ruler, overthrown in a revolution, sings about what he lost, and how he feels God cannot accept him.  Appropriately, this is immediately followed by…

‘Violet Hill’:  This could be easily and reasonably taken as the story of a soldier under the dictator’s command.  He longs to see his lover again, but he’s been taken away to a terrible, misguided war.  This is obviously a protest song, and done with great style and wit.  My second favorite song on the album.

‘Strawberry Swing’:  After the darkness of the past few tracks, this is an awesome relief.  A great electronic sound.  The lyrics are beautiful and concerned with the wonder and preciousness of life.

‘Death And All His Friends’:  The beginning wraps up the love theme of the album.  It speaks of patience before marriage, possibly picking up the story from ‘Yes’.  After this, and a great piano-to-percussion-to-guitar build up, Chris Martin and the other band members yell out the last piece of lyrics, directly challenging death.  It’s awesome and quite uplifting.  After this fades away, the last hidden track, ‘The Escapist’, gently comes into play.  Another brief ode to hope.  Kind of cool to fall asleep to, actually.

And now that’s it all said and done, I’d like to talk about the effects of the album.  It’s hard to see, in the relatively brief period of time this album has been out, what sort of societal change will be made.  It’s much more introspective than most folks are probably used to.  I know I’ve heard a lot of crap about Coldplay being “pretentious”, which is, in my opinion, ridiculous and reeks of misunderstanding.  It’s easy to confuse sophistication–or rather, depth–with being haughty, especially if you happen to be talking about a group of popular musicians.  What I’d like to see come from this album is a heightened sense of appreciation for religion, and for the topic of death in general.  Most people avoid talking about it, for the obvious reason that it’s inevitable.  But as a group so sympathetic to Christianity, Coldplay has the the inclination to directly challenge the inevitable.  And it’s that kind of thinking that leads to hope in something, or Someone, more.