Coldplay - A Rush of Blood to the Head

Review: Jack Foley

COLDPLAY'S path to supergroup status has been the stuff of dreams. Only a few years ago, this group of four former University of London students - who apparently shared a passion for Bob Dylan and the Stone Roses - decided to form a band.

By the end of 2000 - and thanks to the stunning debut album, Parachutes, and the equally sublime singles, Yellow and Trouble - Coldplay were everyone's favourite new band. And their appeal wasn't even constrained to England; as the brick road paved by Yellow, of sorts, helped make a name for them in the States as well.

So the pressure really was on, then, to follow up Parachutes with their second album, wasn't it? You wouldn't think so, from listening to A Rush Of Blood To The Head - an album that is every bit as accomplished, if not better, than their acclaimed debut.

A Rush Of Blood proves that Coldplay are no one-album wonders, and, better still, that they are capable of progression. If Parachutes was a soulful, moody (some say downbeat) collection of heartfelt love songs, A Rush Of Blood is far more energetic and upbeat, while remaining unmistakably Coldplay.

As breathtakingly simple as it is beautifully written, A Rush of Blood is the sound of a band at the height of its confidence. These are a nice bunch of guys and this honesty and integrity shines through their songwriting, so that when Chris Martin sings 'God put a smile upon your face', you are certain to react with one.

A Rush Of Blood isn't just a good listen, it is an uplifting, thought-provoking, dreamy journey through music heaven; one which could well be the album of the year, as well as one of the greats of all-time.

Starting with the powerful Politik, which combines the aggressive drum beat of The Doves' Pounding with Martin's familiar lyrical style, the album then follows on with the sublime first single, In My Place - a track which still sounds as fresh and exciting as when we first heard it, thanks in no small part to that terrific, three chord guitar rift which renders it so effective.

From here on in, things continue to get better. In fact, dare I say, there is not a bad moment. Nothing here really sounds like a filler; and every single track could be a single.

Piano-led ballads such as The Scientist and Clocks are shiver-inducingly good, the type of which you will never want to listen. Clocks, in particular, is a continually rewarding listen, getting progressively better as it moves on, and bringing out the full range of Martin's sweeping vocals. Yet, again, it is a simple pleasure.

Daylight trades the piano keys for a meatier guitar rift, which is every bit as distinctive as the one used on In My Place, while the acoustic Green Eyes is the closest the band gets to anything on Parachutes.

Warning Sign, meanwhile, is a guitar-based epic which positively sparkles with angst-ridden intensity, featuring great loops, luscious background instruments and a truly heart-rending chorus. One can only imagine how great it will sound live.

And title track, A Rush Of Blood To The Head, is another slow-building epic - one which begins like several of the tracks on Parachutes but which builds to a mesmerising chorus (with hints of the brilliance of Yellow).

This is the type of album that people will be raving about for years; if you don't already own it, then join the rush now. Martin may lament that his star is fading in final track, Amsterdam, but for Coldplay, the dream continues....

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