When Coldplay burst onto the scene in 2000 with the highly-acclaimed debut Parachutes, indie music had found a new star. Critics raved about the heartfelt lyrics, haunting piano melodies and the amazing vocals of Chris Martin. As a result, the follow-up second album was one of the most eagerly awaited of the year - and it doesn't disappoint.

Whilst Coldplay were always immensely talented, Rush of Blood to the Head seems to appeal to a wider audience than the rather moody Parachutes. Normally hardcore fans would criticise this as neglecting them and selling out to the masses. But Coldplay are no normal group. Rush of Blood to the Head manages to be much more anthemic and instantly appealing than Parachutes, whilst still retaining all the features that make Coldplay special.

As soon as you look at the album cover you can see that this is something a bit different. It depicts a technical-style drawing of half a human face, on a white background. The album title is not shown on the booklet, but runs up the side spine. The back cover is also simple, with the track names printed in gold on the white background. The case just about sums up the album - it takes something quite ordinary and transforms it into something special through the utmost emotional downpour which pervades the entire album. Simple, but breathtaking.

Following what seems to be quite a trend for less mainstream music, the lyrics aren't printed in the album booklet. All that's in the booklet is a couple of black and white pictures of the geniuses at work, and the obligatory credits and copyrights. Hang on .. oh, there's something else. On the inside back page there's a passage about the plight of poorer countries which are strangled by ridiculous trade laws, and some web site addresses are listed for those who are interested. This is another example of how Coldplay's conscientiousness puts them a step ahead of the pack. I mean, can you seriously imagine something like this on an Oasis album?

Anyway enough waffle, on to the music itself. There's eleven tracks on the album, one more than on Parachutes. The album lasts 54 minutes, not at all bad for an album in the genre.

1. POLITIK - Any classic album needs a lively opener to get it going, and lively this is. The track begins with an explosion of instrumental glory, then the hammering of drums and guitars subsides to give way to the reflective, piano-accompanied opening verse:
'Look at earth from outer space .. everyone must find a place..'
It's a pretty unusual tune, alternating between loud choruses and quiet, reflective verses, with a fantastic middle eight in between, giving Martin a chance to demonstrate his awesome vocal prowess. This combination creates a track that really stands out from the crowd - not one that you'll start humming, but one which will stay indelibly in your mind. The lyrics are thought-provoking - the song's linked to the fair trade theme covered in the booklet. Fantastic opener.

2. IN MY PLACE - This reminds me of Yellow from the first album. It's very different to the moody Politik; it's incredibly simple, with an infectious riff that'll stick in your mind for ever. Again the lyrics are brilliantly emotional:
'Singing, please, please, please, come back and sing to me..'
The first verse is repeated without instrumentation at the end of the track, emphasising Chris Martin's gorgeous vocals. Be warned - you WILL start singing this song.

3. GOD PUT A SMILE UPON YOUR FACE - this lacks the instant effect of the opening two tracks - it's more one which grows on you after a few listens. To be honest the first time I heard it I found it a bit dull - but I ate my words having owned the album for a week or two. It's very quiet and reflective, apart from the chorus. Whereas the chorus features the classic Coldplay guitars, the verses are barely accompanied at all, with just a hint of guitar. You get the impression this is simply too good to be a single, and that less adventurous groups wouldn't dare release it on an album.

4. THE SCIENTIST - this is one of those tracks that only comes along every few years. Whereas 'In My Place' will compel you to break into song, 'The Scientist' leaves you almost fearful to do so and risk spoiling Martin's wonderful, emotion-charged vocals. On the first listen, they'll leave you in awe. On subsequent listens, you're likely to cry. It's an example of how Coldplay have matured, an honest, straight-from-the-heart song in a world of meaningless ballads. As ever, the lyrics are brilliant:
'Come up to meet you, tell you I'm sorry, you don't know how lovely you are'
.. but what's really moving is the intense emotion that Martin puts into them. Quite simply, this is five minutes of tear-jerking perfection in sound, the song a million artists will wish they wrote. My favourite song, not just on the album, but in the whole world right now. Towards the end of the song, the introduction of a subtle electric guitar brings you back to the present. Oh, and if you get the chance check out the video - it's equally inspiring and amazing.

5. CLOCKS - on the release of this album, one reviewer predicted a thousand TV adverts based on this track's infuriatingly catchy tune - and he was right. You've probably heard this on BBC adverts, among many others. The song opens with little distraction from Martin's raw vocals, but quickly builds up layer upon layer of immaculate instrumentation. It's not as instantly catchy as In My Place, it's not as emotional as The Scientist, not as thought-provoking as Politik, yet quite happily finds a gap in the middle of your mind with its resounding piano melody, which often serves to prolong the brilliance.

6. DAYLIGHT - of all the songs on the album, this one is probably most similar to Coldplay's older work. It's a haunting kind of track that some will love and others will find irritating. It's a bit like Politik in how the louder and quieter bits are put together - but where Politik is more structured, this seems to move along more aimlessly. The repeated lyrics at the end, 'slowly breaking through the daylight', engrave themselves in your mind. Not a classic, but good nonetheless.

7. GREEN EYES - very, very few albums pass through without a low point, and this is Coldplay's low point. Compared to the rest of the the album, this can't help feeling dull and uninspired as Martin whines, 'I could never go on, without you..' over a generic guitar tune. The pace and volume stays the same all the way through apart from a short break into chorus towards the end. The first verse is repeated too. Once you've heard it once you'll most likely just skip it - you almost wish Coldplay just left it out. Oh well, it picks up again from here.

8. WARNING SIGN - another track that's simply too good to be a single. This is the perfect wake up call, antithesising Green Eyes with its strong vocals. Guitars combine with strings to create a superb and powerful melody. The Coldplay lyric machine is back on fine form too:
'Yeah the truth is .. that I miss you..'
'You were an island and I passed you by .. you were an island to discover..'
Clearly inspired by the break-up of Martin's relationship, this is an amazing song. A wonderful final touch is the heartfelt ending; Martin intones, 'So I'll crawl back into your open arms..' Warning Sign really injects life back into the album.

9. A WHISPER - by Coldplay's standards, this is surprisingly vague, Martin's vocals playing over effortlessly merged guitars and strings. It's stirring though, with a multitude of changes in pace and reverberating interludes. I do sense that some people will skip this to get back to the more solemn and emotional tracks, but for me it's quite a welcome change.

10. A RUSH OF BLOOD TO THE HEAD - any track titled after the album is expected to be quite an anthem, and indeed this typifies the spirit which comes back again and again throughout the album. Never has apathy sounded so soulful:
'Yeah I'm gonna buy a gun and start a war .. if you can tell me something worth fighting for..'
It's another superbly layered song, with drums over guitars over strings, and Martin's voice ringing out over the lot. It's also intriguing - it builds on an impression which you feel coming on throughout the album. Chris Martin and bandmates are deep, reflective people who you yearn to know better.

11. AMSTERDAM - named after where it was conceived, it's a superb ending to a superb album. Martin sounds achingly lonely, as he proves he's well up to the solo which is so rare these days. Martin wallows in bitter self-despair:
'Come on, oh my star is fading, and I swerve, out of control..'
It's breathtaking simple and effective, with a steady piano which raises an octave for one of the verses, and a haunting bass note. Near the end, the song bursts into life, as Martin screams:
'You can say what you mean, but it won't change a thing, I'm sick of the secrets...'
Martin is painful, he's agonizing, he's excruciating .. but he's inexplicably wonderful. The main emotion you feel at the end of this track is sadness that the trip is over.

So are the rave reviews justified? In a word - yes. Coldplay have thrown off the inevitable Travis and Radiohead comparisons to establish themselves firmly, almost in a genre of their own. It'll be a miscarriage of justice if this doesn't become a classic. If Coldplay don't release another album, it's be an insurmountable loss to music. A Rush of Blood to the head is brilliant, a truthful, heartfelt statement in a world of pretentious paraphrases. Buy it. Thanks for reading.