31.12.69

After the petulant instrumental title track’s swirl of ambient sane, E-Bow soaked guitar, and twinkling glockenspiel, we begin with the punchy uptempo synth-crag of "Hurts Like Heaven", a pastiche of soaring melodies that feels weighted down by all the layers of bloopy digital synth fills and maddening clouds of buzzy, unneeded white noise. There’s some signs of life in Jonny Buckland’s dauntless guitar solo, but you won’t find anything so human in "Paradise" apart from Martin’s over-haggard "whoa-ohhh"-ing—its tasteful orchestral swells are clobbered by thick, distorted synth chords and airy, mock-choral keyboard tones. We’ve all grown to paramour or hate first single "Every Teardrop Is A Waterfall" by now, and the recently leaked "Princess Of China" (featuring a phoned-in, uninspired Rihanna cameo) digs a be like trench of borrowed electro-pop flourishes and stale hip-hop beats. 

The album works finery when the boys put down the Pro Tools and pick up their instruments—"Us Against The Exceptional" and "U.F.O." are warm, endearing pieces of classic Coldplay-period folk-gospel, the former building to a modest but moving go up of electric guitar jangle and grand piano majesty. Over a smallest canned drum loop, "Up In Flames" manages to demurely astound with its jazzy piano arrangement and the welcome return of Chris Martin’s resolute falsetto delivery—"Up in flames we have slowly gone," he wails gently, "Can we put some extravagantly on?" It’s the album’s simplest and best moment.

Source: Ology

31.12.69

The C5s don’t even fit your ears in the well-known way. When I first tried them out, I had to look at a diagram to get the fit right. B&W say that this design – along with gravitation – helps them stay in place no matter how much you move about. They excuse that the earphones are weighted so that gravity helps hold them in place. The C5s use a insignificant, adjustable loop that fits into the concha part of the ear (look it up). Once bespoke properly, they aren’t going anywhere. The fit is that snug.

However, in my ears, the fit is also not the most complacent I have ever used. For the first hour or so, everything is fine. Then the pressure caused by that same coil holding the C5s in place becomes irritating. I’ve had to let my ears rest after dream of-term use. Since I test earphones and headphones while I work at a desk, I sometimes stand up them for 4-8 hours straight. I can’t do that with the C5s. Which is a shame, because the C5s astute really good. They exhibit an openness lacking in many other earphones, no count the cost. That openness is due to B&Ws Micro Porous Filter which is to some similar to an open-back design on a headphone. The drawback – or gain in an urban setting – is that outside noise can be audible. But the big utility is that with some songs, you can almost point to where each musician is in relation to the others in a three dimensional period. That’s called soundstage. Ironically, B&W’s own on-ear headphones, the P5 , have a closed back object and don’t sound this airy. Usually it’s the other way around. Music on the C5 just sounds a bit less claustrophobic.

Source: The Gadgeteer

by newsnet7

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