November 15, 2011

By Miles Dobis

For some, Coldplay’s continued popularity is inexplicable, but for many, it is totally understandable. The band takes a very broad Britpop base (vast production, big sound, stadium-filling ambition) and tempers it with a refreshing sense of balance and sweetness, never taking enough of an angle to be polarizing. Always revolving around the complementing sounds of Chris Martin’s earnest falsettos and piano with Jonny Buckland’s chiming, understated guitar work, the band’s sonic imprint is always at least an impeccable piece of craftsmanship.

Ambitious but never bold, the group finds a unique balance of sound and purpose that rarely comes off as preachy (U2), overtly artsy (Radiohead) or theatrical (Muse). All those bands are infinitely more original and engaging, but Coldplay proves a middle-of-the-road approach can’t be hindered by an ability to crowd-please and continually tweak its sound.

The band’s repeated employment of legendary producer Brian Eno proves as much. Known for taking stadium-filling groups and pushing their limits in the studio (Talking Head’s _Remain In Light_, U2’s _Achtung Baby_), Eno doesn’t quite achieve that effect on their latest, _Mylo Xyloto_. His blend of industrialism and bold rock elements has worked better elsewhere (David Bowie’s _Heroes_). But as on 2008’s blockbuster _Viva La Vida_, he creates a nice dimensional quality to the arrangements. The propulsive, disembodied acoustic guitar on “Charlie Brown” pushes without shoving the sound, and the muted, almost damp backing on “Up In Flames” brings some understated beauty to the track.

The foursome is dependable as always on more conventional tracks like “Every Teardrop Is A Waterfall” and “Don’t Let It Break Your Heart,” but when Eno pushes (even slightly) outside the comfort zone, the results are surprisingly impressive. “Hurts Like Heaven” is a workout of Postal Service-style beats, and “Princess of China” is a suitable showcase for guest vocalist Rihanna — her clean vocals running against the crackling guitar and synth background make for an attesting dance-rock hybrid that’s perhaps the albums strongest moment.

Of course, the band’s commitment to populism limits these moments, making the resulting big ballads like “Us Against the World” and “U.F.O.” vaguely pretty but bland, and the supposed concept of two lovers in a future society never quite gets off the ground. However, almost everything else on _Mylo Xyloto_ works well, and one can’t help but imagine how some of these songs could completely fill the large venue spaces Coldplay commands so well.

That the band has the capacity to surprise and engage at this career stage when it’s commercially unnecessary is proof enough that _Mylo Xyloto_ is a worthy addition to the Coldplay catalogue and that good rock stars are better than none.