X&Y is hardly a bold step forward but rather a consolidation of Coldplay's strengths, particularly their skill at crafting surging, widescreen epics. But if X&Y highlights their attributes it also brings Coldplay's weaknesses into sharp relief.
While Coldplay does show growth on X & Y, those who expected an album that takes big risks are listening to the wrong band. Amidst all the pressure and expectation, Coldplay have kept a remarkably even keel, releasing yet another album of affable, accessible, introspective guitar rock, with enough inventiveness to avoid sounding overly repetitive.
The album retains just enough of the band’s occasional flashes of innovation and spark from its earlier albums to perpetuate the lingering hope that they could someday put all the elements together into a phenomenal package.
X & Y is an album of two halves. On one half (essentially almost all of the odd-numbered tracks), you have Coldplay's most sonically daring material yet, not flawless, but genuinely interesting, proving that they have evolved and are becoming a bona fide respectable rock band. On the other half, you have a pointless rehash of the worst aspects of their previous material.
X & Y is not Coldplay's groundbreaking junior-year masterpiece. It might, however, be a bid for the world's most pleasant album. Chris Martin and co. know what works (basically, Clocks), constructing 12 variations on that theme and taking pains not to shock fans with any disconcerting experimentation.
X&Y is awash with cliches, non-sequiturs, and cheap existentialism; at times it all becomes nigh on unbearable.
People who venture into a record shop only once a year want to know what they're getting: they don't want a nasty surprise when they get their annual purchase home. They should be delighted with X and Y: Coldplay are not in the business of delivering surprises, nasty or otherwise.
Whereas Rush of Blood was a nervy bid for bigness, X&Y is something less exciting. It’s the serious sound of Martin trying to sing songs that match his stature. It’s the sound of a blown-up band trying not to deflate.
At least 45 of X&Y’s 63 minutes finds Coldplay overdosing on pointless synthesizers in the name of “expanding their sound” while forgetting to write anything reflecting a decent hook.
Short Review
Remember that I don’t listen to hidden tracks or bonus tracks.
This album does more of the same that Parachutes and A Rush Of Blood To The Head did, which is totally fine, except it has a touch more filler.
Favorite: Fix You
Least Favorite: Twisted Logic
X=Y
Let us try, for a few moments, to imagine a better world. A world without cynicism, prejudice and hype. Well, when you put it that way, it sounds a little boring. Yet in this "ideal" world, Coldplay's music would probably be appreciated for what it is: a naive music that sometimes takes itself a little too seriously, but above all melodic and often inspired songs. Their third album, "X&Y", would be valued for its true value, as a little jewel of pop wonderfully ... read more
Probably my least favourite out of the first four albums of theirs. Bad? No. Their best? No.
1. Square One - 7.5/10
2. What If - 8/10
3. White Shadows - 7/10
4. Fix You - 8/10
5. Talk - 8.5/10 ⭐
6. X&Y - 8.5/10 ⭐
7. Speed of Sound - 9/10 ⭐⭐
8. A Message - 7.5/10
9. Low - 7/10
10. The Hardest Part - 8.5/10 ⭐
11. Swallowed in the Sea - 6/10
12. Twisted Logic - 10/10 ⭐⭐⭐
13. Til Kingdom Come - 10/10 ⭐⭐⭐
105/130
8.1/10 (Great 8.0-8.9)
1 | Square One 4:47 | 85 |
2 | What If 4:57 | 82 |
3 | White Shadows 5:28 | 83 |
4 | Fix You 4:54 | 91 |
5 | Talk 5:11 | 85 |
6 | X&Y 4:34 | 81 |
7 | Speed of Sound 4:48 | 87 |
8 | A Message 4:45 | 77 |
9 | Low 5:32 | 78 |
10 | The Hardest Part 4:25 | 79 |
11 | Swallowed In the Sea 3:58 | 76 |
12 | Twisted Logic 4:32 | 76 |
13 | Til Kingdom Come 4:11 Hidden Track | 76 |
#19 | / | NME |