Mylo Xyloto

Nice product. Well packed

Great album, not their best but still for the album 5 stars but the product I got was defective, the CD case was broken a bit but the CD was unharmed.

HOW CAN YOU NOT LIKE IT?!ARE YOU DEAF?!WELL I PITY DEAF PEOPLE WHO ARE NOT ABLE TO HEAR THIS PURE MUSIC😍😍LOVELY LOVELY LOVELY ALBUM

Bonsoir j'ai reçu le boitier de ce CD cassé .

So; what is driving the accusations that 'Mylo Xyloto' has fallen victim to the so called "Loudness Wars"? There is something to note about this CD that I'll get to momentarily.First; I can honestly say that although attention to the "Loudness Wars" is justifiable I think there's a need for caution as witch hunts and finger pointing can shift a bit to the side of hysteria, leading to false accusations and misguided criticism and an attempt to deem yet again, proof to the evils of digital music. Such attention targeting the 'Mylo Xyloto' CD are many and at times harsh. To add (and not to offend), while I get (in general) the point many reviews attempt to make, posting misinformation can unintentionally confuses and dilute the source of real knowledge attainable on the Internet. To borrow a phrase from Newton Minow; making it a "vast wasteland".In my audition of 'MX' (some details below), upfront; there is no signal distortion, only what was intended by the performers style for the album (note guitar, `old piano' track and the wet mix vocal tracks). The CD is very clean in that regard. To take my own advice (above), I sought out an expert to offer a few comments on the `MX' CD album. Bob Ludwig (of Gateway Mastering) not only is a principal and multi-awarded engineer involved on the mastering of 'Mylo Xyloto' but a legend among recording engineers and active speaker within the Audio Engineering Society.Here are his comments:"... I can only respond in general about mastering and not to the recording in question and you may quote me:Mastering is the final step in the record making chain. While the final sound of the CD of course comes from the mastering stage, no listener can know what the difference is between the master mixes from the mix room and the mastered mixes from the mastering room without hearing and directly comparing them. The listeners, unless they are personally involved in the actual project, are never able to do this comparison. Thus one can never really know what was, or what was not done, in mastering. Sometimes the client supplies us with a master that needs nothing further done to it.The purpose of mastering is to enhance the musicality inherent in the client's master mixes. If the mastering engineer enhances the sound to the client's tastes, then we have accomplished our raison d'être. It would be lovely if I DID get to solely determine how a recording was going to sound, like a dictator, but in the real world it simply does not work that way. Like every other mastering company, I am in the business of serving our clients wishes, tastes and musical vision. If we give the client something they are satisfied with, we usually get to work with them again at some point in their career.Some famously loud recordings like Metallica's "Death Magnetic" were not crushed, at all, in mastering, it was mixed that way. It was issued the way the artists, producers and management wished it to be. If a listener does not like the way this or that sounds, please do not buy it. Sometimes an artist wishes to purposely have distortion in their music, and that is their prerogative.All big-name acts have had their mastered music listened to very carefully and approved by everyone involved before being released. Often in mastering the recording is done several times to order to get that approved, sequences are experimented with, gaps between the songs are changed, the mixes are changed, the mastering sound is changed etc. etc. It is never a case of "send it once to mastering and that's what you get." The mastering engineer suggests and advises how the album should sound, but it is always the clients desires that gets released.I personally prefer recordings in general with dynamic range, like the recent jack White "Blunderbuss" or the Glenn Frey "After Hours" albums. These days, it almost takes nerve to issue a record with dynamics, but "Blunderbuss" went to #1 on the Billboard charts and sounded fabulous on the radio. There are recordings I do that the client requests time and time again to make louder. I can point to some albums with 4 or many more revisions from what I initially thought was the musical "sweet spot", each revision being louder than the previous one per the client's tastes.To repeat, especially when it comes to a big name artist, the recordings are exactly as the artist wishes them to be, and if you don't like it, then don't buy it.Regards,Bob Ludwig" (end of quote)I thank Mr. Ludwig for his comments and wish to also highlight, two before continuing: "... While the final sound of the CD of course comes from the mastering stage, no listener can know what the difference is between the master mixes from the mix room and the mastered mixes from the mastering room without hearing and directly comparing them. The listeners, unless they are personally involved in the actual project, are never able to do this comparison."; and also; "... when it comes to a big name artist, the recordings are exactly as the artist wishes them to be, ..."As a professional unaffiliated with the 'MX' CD, I would support that most sound engineers (in general) ensure that care and expertise are part of the recording, mix, and mastering session and unwarranted criticism is likened to telling an airline pilot how to do their job. Knowing that the CD hasn't been squashed to hell as claims boast (maybe a little), I'll make a case in point; 'Charlie Brown' as tested. I measured musical peaks at -5.8dBu and -56dBu for lows at 00:03:50:20.0, with a total range of 50dB during a song high-point, which is very good (dynamic range). These days a mix can be so tight and/or complex that only minute alterations can be performed, leaving little that can be done in the mastering process. A CD like that may have limited playback ability in a home system with tonal control being global.However; I'm attempting to identify the nature of the phenomenon at hand and look to the fundamental principles of gourmet cooking; you may have the finest ingredients but if there's not the right balance of 'presentation' and 'taste', well. For the 'MX' CD, lets say 'Sonic flavor' (on parts of 2 to 3 songs).For those who may wish to add salt; try adding a Para-EQ of -1.8dB @ 3300Hz (Q=12) and -3dB @ 5325Hz (Q=9) for the songs `Charlie Brown' and `Major Minus'.In concussion; I like the CD album (minus the artist's 'sonic flavoring' on 2-3 songs).

I realize that reviewer Mr. Man has already done a review which assesses each track. However, I felt his review was somewhat off the mark and, being a big Coldplay fan, I decided to write my own review, below:First, a quick summary of the album overall. Mylo Xyloto stands on its own as the next evolution of Coldplay music. I find it a very enjoyable album that initially sounds quite different from previous Coldplay music (I had the same feeling with Viva la Vida). But after listening through it a few times, I realized that the old Coldplay themes are still there. The earnest, hopeful, occasionally intriguing lyrics. The beautiful mix of rhythm and electric guitar (or piano). The ability to straddle the line between popular and kitschy music without straying too far into the latter. As with X&Y and Viva la Vida, Coldplay continues to introduce electronic and synthesizer effects - which are occasionally excellent, but oftentimes could use more work. While not my favorite album that they've produced, Mylo Xyloto is still fun to listen to.1. Mylo Xyloto - 3.5/5Just like Viva la Vida, Coldplay opens their album with a gorgeous non-lyrical track. It sets the tone beautifully for the transition into Hurts like Heaven. Performed live, I don't see how it could be used any other way, due to its short length. Still a nice piece, but why did it need to get separated out from Hurts like Heaven? A strange decision.2. Hurts like Heaven - 5/5My favorite song on the album, hands down. I am going to go skiing this winter while listening to this track on repeat and am anticipating being transported to a different spiritual plane :) Seriously, though, the quick tempo and the guitar skills of Johnny Buckland combine to make this an ethereal, infectious track that gets under your skin quicker than any other song on the album.3. Paradise - 3/5Many fans will like this one, although I find the grinding electronics and halting beats at the start of the song and the bridge turn me off pretty quickly. There's something about the lyrics ("para-, para-, paradise") that annoys me too. I do like the introduction of the string instruments (a la Viva la Vida) and the reference to a song later in the album (no spoliers here!).4. Charlie Brown - 3.5/5Initially I was unsure about this track. I found myself thinking "Are those Alvin and the Chipmunks I hear in the background?" And the beat seemed like it was made for young children. But after listening through it a few times, it began to grow on me - the track does have a childish quality, but in a way that is more like an adult reminiscing about childhood, rather than a song to be sung by children...5. Us Against the World - 4/5I liked the sound of this one - it harkens back to some of Coldplay's earlier works. A nice mid-album slow track. Some great lyrics are to be found here "the devil as he's talking with those angel's eyes" is a personal favorite.6. M.M.I.X. - 2/5This track 49 second is so quiet, you might have to turn your speakers up to make sure the album hasn't stopped unexpectedly. A single note carries through the whole song, with odd airy refrains tagged on. It does make for a transition into Every Teardrop, but they might have done better to rearrange the tracks and leave this one out.7. Every Teardrop is a Waterfall - 5/5Fantastic song. This was one of the first singles to come out, which is too bad - a little like seeing all the jokes in the trailer to a comedy. Still, the scoring is excellent. The sound is rich, the lyrics are moving. Expect this to be on Coldplay's "Best of" album that you know as well as I do will be coming out a few years down the road.But, from here on out, I think the album has peaked and never really hooks you back in again. Which is a pity, because the remaining songs really aren't too bad. Except for...8. Major Minus - 2/5Maybe it's the fact that it's right after Every Teardrop, but this song is just kind of grating - I often skip it when listening to the CD in the car.9. U.F.O. - 3/5Another throwback to Parachutes and some of Coldplay's earlier works. A decent mood song.10. Princess of China - 3/5The most intriguing thing about this track is that Rihanna and Coldplay got together to make a song. That sounds like a promising concept, but Princess of China doesn't make the grade. The track's lyrics of jilted lovers singing to each other doesn't quite add up to hear Chris Martin and Rihanna sing it, and comes off sounding somewhat awkward. Again with the grating electronic music, too. The potential for this duet goes sadly unfulfilled.11. Up in flames - 3.5/5A lovely track mixing piano and slow-paced electronic drumbeats. For some reason, I get the feeling Chris Martin's voice is straining too much on this track, which slightly disrupts the melodic swaying feel it has.12. A Hopeful Transmission - 2/5Another non-lyrical track that starts to make you wonder. Really? Three non-lyrical, less-than-a-minute tracks in one album? To me that feels like driving away from the drive-thru and realizing they forgot your fries. A fourteen-track album should have fourteen full tracks. And not feel like a rip-off...13. Don't let it break your heart - 4/5A great penultimate track. After some of the drudgery of the last few tracks, this one starts to feel like Coldplay is heading towards a good conclusion of their album. The rich, powerful sounds serve to tie in the earlier sounds of Hurts like Heaven and Every Tear.14. Up with the Birds - 3/5Coldplay has a pretty good history with closing tracks ("Everything's not Lost" on Parachutes, "Amsterdam" on Rush of Blood to the Head). But this track seems more like "Til Kingdom Come" on X&Y - somewhat at odds with the rest of the album. There are some weird themes going on (I'm reminded of 60's musicals, Pink Floyd, and Alfred Hitchcock movies). It's not terrible, but it doesn't conclude the album quite as well as some of last tracks of previous albums.One last bone to pick with the band. Why did you have to pick a name that nobody could pronounce? The only advantage I see to this is as a party conversation starter...just so you know, you're not being clever.

Wenn ich "Mylo Xyloto" mit "A Cold Rush Of Blood.." vergleiche, so wird klar, dass "Mylo Xyloto" ganz auf Massenkompatibilität ausgerichtet ist. Konnte man/frau die Vorgänger Alben noch unter die Rubrik "Pop-Rock" einordnen, so ist dieses Album reine Popmusik. Besonders störend ist das dumpfe, monotone und drucklose "Schlagzeug", dass es mir unmöglich macht, die CD am Stück zu hören. Da hätte es auch ein Drum Computer getan.Gekauft habe ich mir die CD nur, weil sie sehr billig war und mit "Paradise" einen wahren Smash Hit beinhaltet. Die anderen Songs sind zwar nicht schlecht, hinterlassen aber keinen bleibenden Eindruck.Einige Songs weisen die Coldplay typische Melancholie auf, während andere Songs einfach belanglos sind.In der Hinsicht fällt das Album gegenüber den starken, mit Tiefgang ausgestatteten Alben "Parachutes" und "A Cold Rush..." deutlich ab. Mir persönlich gefällt aber an "Mylo Xyloto", dass Chris Martin nicht so hoch singt, wie auf einigen anderen Alben.Fazit: Ein Album, dass man/frau haben kann, aber nicht muss. Es ist auch eher für Pop Musik Fans geeignet, denn für Rock Fans.

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