There has been endless talk of new directions and experimenting with their sound - the hiring of a left-field producer (Brian Eno) and a Frida Kahlo-referencing title.

They have thankfully done away with the verse-soaring falsetto chorus-verse ethos of previous blockbuster X & Y and positioned multi-structured songs back-to-back to showcase their art rock abilities (Chris Martin has proclaimed his love for Arcade Fire).

They also released their most confident, aggressive and electrified song (Violet Hill) as the first single to stamp their intentions - we're back. And we're different.

But despite the window dressing, not all that much has changed.

Sure, there is a broader sonic palette to dine on with Viva La Vida.

It is less predictable and there's a sprinkle of electronic fairy dust: church organs, some African beats and some My Bloody Valentine-apeing distortion.

It is Coldplay's most energetic and complicated work but the most interesting parts of their `new' direction are only flourishes around the edges of what has made them a household name - mid-tempo piano balladry with broad, sentimental lyrics that build simple melodies into lighter-waving anthems.

It's not as if people really want Coldplay to change that much.

Ten million album sales of X & Y would suggest they are quite happy with what they've got.

But you sense Chris Martin really wants Coldplay to be different - to have the critical respect to match the multi-million album sales.

No, they are no Arcade Fire or Radiohead.

This music - and these lazy, bland lyrics - will never actually MEAN anything to me, like those bands do.

This isn't bad. But it's not good enough to want to listen to again.