By shelz.

A few years ago, Chris Martin said that Coldplay’s collective age was tipping the scale into geriatric’s vicinity and that they were going to disappear like Keyser Soze. The idea of being 33 and still in a band bothered him, but not enough for him to stop making albums obviously.  And funny enough, Coldplay’s first album after their foray into old manhood, Mylo Xyloto, speaks to plenty of adolescent themes.The sprinkles of polite rebellion and youthful angst set on simmer are still wrapped in a proficient emotion-tweaking arena pop. They would be absolutely insane to mutate too much.  As a matter of fact, they exaggerate the sound with the likes of Rihanna and a muted Brian Eno, adding just enough synthesized swag to fuzzy the edges.  There are echoes of U2 and 80’s new wave, but Coldplay’s core hasn’t changed.  The strings still swirl.  The guitars still evoke melancholy and Chris Martin’s lyrics and vocals are still pedestrian.

Mylo Xyloto is allegedly a concept album about a broken romantic dream spread against the backdrop of a broken society.  However, Martin never quite captures the depth of that idea.  The mutiny through graffiti story of “Hurts Like Heaven” rocks in a speedy new wave pattern that could return the average 33 year old to the 80’s Brit Pop, but Martin’s concrete canvas and spray paint soul are a bit banal. Those lyrics are quickly eclipsed, however, by a tale of stealing mom’s car to meet with the “lost boys” downtown in “Charlie Brown.” Martin then goes on to croon about the kids running wild and wanting their brand of freedom to glow in the dark. In the midst of this beautiful, churning power pop track, it’s horribly cliché.

Don’t let that get you down.  Coldplay can crank out a moving melody like no one’s business. Even the crackling of Martin’s lowest lows on “Us Against the World” and “Up In Flames” are punctuated with beautifully constructed music; even if the latter will remind the listener of their last trip to a piano bar. “Don’t Let It Break Your Heart” reaches out immediately with a huge lighter-flicking sweep of strings, guitar and thumping bass. The church organ and composed strings of “Paradise” play great against thick layers of synth. The production here is top notch and serves as the saving grace that ties the quality bits of this album together.

In Coldplay’s desire to traverse the great divide between music for young people and music for old people, Mylo Xylotoveers off course.  Bemoaning your lack of usefulness as an aging band shouldn’t automatically amount to using juvenile themes.  Instead, embrace maturation and speak to those who have brought you this far (and those aren’t Bieber fans.) Coldplay has a formula built for big record business and they still followed it musically. But songs of adolescent revolution and bucking against the grownups, make as much sense as trying to pandering to adolescents; very little.

2.75 out of 5

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