Here's another review, this one from Canada's National Post:
'Very loud for Coldplay is like a System of a Down ballad," Chris Martin said in our interview last month. True enough. But that doesn't make X&Y any less headache-inducing. Taken on their own, pretty well any one of its 13 tracks would make a worthy single -- starting slow and acoustic or with mild piano accompaniment, Martin splicing in his falsetto at appropriate moments, and then building to an epic chorus accompanied by the suitably massive guitar chords for which U2's The Edge should be getting royalties. But 13 singles do not an album make. And listening to Coldplay spending an entire disc trying to one-up Clocks becomes a tiring experience. At the start of each track, we hope in vain that maybe, just this once, they'll opt for moderation and tone it down -- or, if we're really lucky, go in a different direction entirely. But there's no room for subtlety or experimentation here -- these guys are so determined to conquer the world that they're busy driving their formula into the ground. As a result, even tracks that should be standouts -- Fix You and A Message, for instance, either of which sounds epic on its own -- get buried in all the sameness. Only on the hidden track, Til Kingdom Come, do they finally strip down to the basics and show a bit of (falsetto-free) soul. But by then it's too late. Over-thought, overwrought and over-produced, X&Y will probably sell a ton of copies -- but it still feels more like Coldplay's Be Here Now than their Joshua Tree.
This guy must not be a fan of anything U2 post Joshua Tree. I can't be surprised, though, it is pitchfork.
) and i think that some like rollingstone (sad excuse for a music mag) and pitchfork ( will give nothing a good review that's not from an indie band or radiohead) underestimated it. 
