Latest news with #HighFidelity
Miami Herald
2 days ago
- Automotive
- Miami Herald
Volvo's Abbey Road Mode Turns the EX90 Into a Personal Music Venue
Music is an essential part of driving, whether through your car's radio, on physical media, or a streaming service like Spotify or Apple Music. Some of us have that special mixtape, burnt CD, or mixtape full of the essential tracks meant to lift the spirits on the morning commute, the drive home, or a long drive somewhere far away. One of the bands I grew an unhealthy, obsessive fixation over when I was a kid was The Beatles, and ironically, one of those songs on one of my driving playlists is Drive My Car. Though we know the words and notes of our favorite songs by heart, the most discerning ears know that there are wildly different and noticeable differences when we listen to them in our cars, our headphones, and through various types of speakers. Nothing can compare to the experience of attending a live performance or being in the room with artists as they record. However, if you're a Beatles fan like I am, you might need a time machine to experience that era. But while time machines and flux capacitors remain the work of fiction, Volvo's latest software update has a cool new feature that may be the next best thing: a way to bring you closer to one of the most iconic studios in the world. After teasing this feature last year, Volvo has officially introduced what they call the "Abbey Road Studios Mode" in an over-the-air (OTA) update for its all-electric EX90 models equipped with the optional Bowers & Wilkins High Fidelity Audio system. This innovative digital audio experience has been crafted in collaboration with audio engineers from the actual Abbey Road Studios in London and high-end audio experts at Bowers & Wilkins. In essence, Abbey Road Studios Mode was made to replicate the distinct sound and acoustic character of the Abbey Road recording rooms inside the Volvo EX90. In its quest to explore the limits of the in-car music listening experience, Bowers & Wilkins worked closely with the same audio engineers who obsessed over the minute, fine details for a wide range of music artists to create a series of digital soundscapes that could bring the studio alive in the big Volvo EV's ultra-quiet cabin. Though other expensive brand-name high-end stereo systems in other cars allow you to tweak, tune, and mess with various equalizer (EQ) settings like the balance, bass, treble, and even focus the sound on passengers or drivers, Volvo says that the Abbey Road Studios Mode is different. The mode comes with some special presets that "provide a selection of sounds, optimised for different listening styles," as well as a special "Producer Mode," which "allows you to engineer your own sound" by adjusting between retro-style warmth or modern, crisp depth, and even shifting the simulated acoustic environment in the same way George Martin would've done. "The Abbey Road Studios Mode brings the unique sound of our spaces and equipment to the Bowers & Wilkins system in the Volvo EX90 for the first time," Abbey Road Studios GM Jeremy Huffelmann said in a statement. "We are hugely proud of this collaboration, and excited for Volvo customers to experience this landmark technology." The Abbey Road Studios Mode is a nice addition to the EX90, which already features a Dolby Atmos-capable, 1,610-watt Bowers & Wilkins system with 25 speakers placed throughout one of Volvo's quietest interiors. As a music fan, words underestimate the kind of songs that were recorded at Abbey Road. We're talking 190 of The Beatles' 210 song catalog, Lennon's Imagine, the entirety of Pink Floyd's The Dark Side of The Moon, modern hits like Lady Gaga's Born This Way, Frank Ocean's Pink + White, and even the scores of Oscar-winning movies like Gravity and The Shape of Water. Although it may seem like a bit too much of a niche "if you know, you know"-type of deal, I feel that given the studio's rich history in modern music, the 'Abbey Road mode' is the ultimate form of an audiophile's stamp of approval, which can sway at least some music-loving buyers towards the Volvo. At least for me, it could make "Drive My Car" sound true to the original recording. Copyright 2025 The Arena Group, Inc. All Rights Reserved.
Ottawa Citizen
2 days ago
- Entertainment
- Ottawa Citizen
Simple Minds at Bell Centre: A simply amazing reminder of 1980s new wave power
Montreal did not forget about Simple Minds. Article content Just under 9,000 fans made the trek to the Bell Centre on Tuesday to see the Scottish band, which was part of the slew of ultracool British new wave bands during the first half of the 1980s that revolutionized the music world, and it was very clear that a big chunk of the folks there had been following them from way back in the day. Article content Article content 'Montreal was one of the first cities to get behind Simple Minds and really encourage us,' said the band's charismatic and oh-so-down-to-Earth frontman Jim Kerr. Article content Article content There was a lot of grey hair in the crowd. Which was super cool to see. Pop music is a young person's game, but there are loads of people of a certain age who still love the music they listened to in high school and university during the '80s. Article content There are '80s DJ/dance nights happening all over the city. I even do one myself, called High Fidelity, and every time I hold one, people — inevitably 40 and older — tell me they love reliving the dancing fun they had all those years ago. There's also VV Taverna, a bar devoted to the same scene at the corner of St. Denis and Rachel Sts. Article content There are loads of folks who still dig listening to bands like The Smiths, Depeche Mode, The Cure, New Order, Echo and the Bunnymen, the Psychedelic Furs, to name a few. And it's not just nostalgia. It's because the music still sounds fab. Article content Article content 'It's still great music 40 years later,' said Jean Boudreau, who was at the Bell Centre Tuesday. 'Even young people today listen to music from the 1980s. It's aged better than the music of the '90s, like grunge. These songs have strong melodies. I remember hearing this music at the Limelight, at the Passeport on St. Denis St., at the Thunderdome.' Article content Nancy Faraj said it's only natural that you return to the music of your youth. Article content 'When you listen to music from the age of 16 to 25, it influences you for the rest of your life,' said Faraj. Article content Before the concert, I texted my old friend Ivan Doroschuk, lead singer of Men Without Hats, the Montreal band that produced one of the iconic anthems of the '80s new wave, Safety Dance, and I asked him why this music was still so popular. Article content Article content 'It's a decade that hearkens back to better times in a lot of people's minds (even though it was the Reagan/Thatcher era),' wrote Doroschuk. 'It's one of the last decades where there were real songs, real melodies, but also social/political commentary. A lot of singalongs, too. The music is dance-oriented as well, which gives it a cross-generational appeal and which explains why '80s nights are popping up all over the place, taking the place of disco in a lot of clubs. Contemporary pop music also borrows a lot from the '80s, with artists like The Weeknd.'
Montreal Gazette
2 days ago
- Entertainment
- Montreal Gazette
Simple Minds at Bell Centre: A simply amazing reminder of 1980s new wave power
Music By Montreal did not forget about Simple Minds. Just under 9,000 fans made the trek to the Bell Centre on Tuesday to see the Scottish band, which was part of the slew of ultracool British new wave bands during the first half of the 1980s that revolutionized the music world, and it was very clear that a big chunk of the folks there had been following them from way back in the day. 'Montreal was one of the first cities to get behind Simple Minds and really encourage us,' said the band's charismatic and oh-so-down-to-Earth frontman Jim Kerr. There was a lot of grey hair in the crowd. Which was super cool to see. Pop music is a young person's game, but there are loads of people of a certain age who still love the music they listened to in high school and university during the '80s. There are '80s DJ/dance nights happening all over the city. I even do one myself, called High Fidelity, and every time I hold one, people — inevitably 40 and older — tell me they love reliving the dancing fun they had all those years ago. There's also VV Taverna, a bar devoted to the same scene at the corner of St. Denis and Rachel Sts. There are loads of folks who still dig listening to bands like The Smiths, Depeche Mode, The Cure, New Order, Echo and the Bunnymen, the Psychedelic Furs, to name a few. And it's not just nostalgia. It's because the music still sounds fab. 'It's still great music 40 years later,' said Jean Boudreau, who was at the Bell Centre Tuesday. 'Even young people today listen to music from the 1980s. It's aged better than the music of the '90s, like grunge. These songs have strong melodies. I remember hearing this music at the Limelight, at the Passeport on St. Denis St., at the Thunderdome.' Nancy Faraj said it's only natural that you return to the music of your youth. 'When you listen to music from the age of 16 to 25, it influences you for the rest of your life,' said Faraj. Before the concert, I texted my old friend Ivan Doroschuk, lead singer of Men Without Hats, the Montreal band that produced one of the iconic anthems of the '80s new wave, Safety Dance, and I asked him why this music was still so popular. 'It's a decade that hearkens back to better times in a lot of people's minds (even though it was the Reagan/Thatcher era),' wrote Doroschuk. 'It's one of the last decades where there were real songs, real melodies, but also social/political commentary. A lot of singalongs, too. The music is dance-oriented as well, which gives it a cross-generational appeal and which explains why '80s nights are popping up all over the place, taking the place of disco in a lot of clubs. Contemporary pop music also borrows a lot from the '80s, with artists like The Weeknd.' Montreal music fans have always loved British bands. It started with prog rock during the '70s by groups like Genesis, King Crimson and Gentle Giant and continued into the '80s with the post-punk and new wave bands like U2, New Order, Echo and the Bunnymen, and Simple Minds. And people were so into it Tuesday at the Bell Centre. They totally loved the high-octane opening set from Modern English, flagged a little during Soft Cell's lacklustre performance, but all was forgiven once Simple Minds took the stage. Songs like Once Upon a Time, Wish You Were Here, Someone Somewhere, New Gold Dream, and Miracle had fans on their feet all night, singing along to every word. Kerr clearly hadn't lost any of his enthusiasm over the years and he still exudes the same down-home charm, a very Glaswegian style that, like the Scottish city, is all about genuine emotion and zero tolerance for any b.s. 'You're going to make us very emotional,' said Kerr, right near the beginning, moved by the crowd's passion. His voice is still remarkably strong after all these years and guitarist Charlie Churchill, the only other original member, was also in fine form, whipping off some remarkably muscular guitar riffs to remind you that they were much more than a limp synth band. By the time they got to their biggest hit, Don't You (Forget About Me), at the end of the set, every single person in the arena was lustily singing along to the chorus. It was partly about nostalgia, about getting lost in a song that we associate with key moments in our life, but it was also about the communal power of live music and Montreal audiences' amazing ability to keep the faith with artists they've loved for decades. You could see this was anything but just another night at the office for Kerr and his bandmates. They got emotional and so did we.
TimesLIVE
3 days ago
- Automotive
- TimesLIVE
Volvo adds Abbey Road Studios sound mode to EX90
Volvo is rolling out a new Abbey Road Studios Mode to its EX90 electric SUV, offering drivers the ability to recreate the acoustics of the famous London recording studio where acts such as The Beatles, Pink Floyd, Radiohead, Oasis and Massive Attack laid down some of their finest work. Available to owners with the optional Bowers & Wilkins High Fidelity audio system fitted to their vehicles, the feature will be delivered free of charge via an over-the-air software update in the coming weeks. Developed in collaboration with Bowers & Wilkins and Abbey Road Studios, the mode uses sound profiles inspired by the studio's acoustics and mixing equipment. These include a "Producer Mode" that allows users to adjust the stereo sound stage, tonal quality and overall ambience, much like an audio engineer would behind a mixing desk. 'We are hugely proud of the collaboration, and excited for Volvo customers to experience the landmark technology,' said Abbey Road general manager Jeremy Huffelmann. The 1610-watt Bowers & Wilkins system in the EX90 includes 25 speakers and supports Dolby Atmos playback. The system was developed jointly by Volvo's in-house engineers and Bowers & Wilkins' tuning team. Volvo said the new sound mode will also be fitted as standard to future EX90 and ES90 models equipped with the Bowers & Wilkins system.
Cosmopolitan
5 days ago
- Entertainment
- Cosmopolitan
Materialists: Breaking Down the Ending of Dakota Johnson's New Movie
If you walked into Materialists expecting a glossy, upper-crust rom-com, you probably walked out blinking and confused. Celine Song's Materialists doesn't end with grand gestures or sweeping declarations. The film begins with a question: what if love were just another asset class? It ends with another: what if it isn't? By the time the closing credits roll, our central lover girl has made choices that feel like a settling of accounts. At first glance, the film looks like it might be a sleek satire—think High Fidelity in The Row. But like Past Lives, Song's breakout debut, Materialists is less interested in plotting a typical romantic arc than in studying the moment someone realizes they're tired of managing their own life like a startup. The woman at the center of all this calculation is Lucy (a whisper-perfect Dakota Johnson), a professional matchmaker for New York's elite—though 'matchmaker' hardly captures the strategic, Silicon-Valley-meets-Venus nature of her work. Her clients want love, but they want it optimized. So does Lucy. Or so she thinks. Lucy had a long-term relationship with John (Chris Evans, shaggy and emotionally vulnerable), a sweet but struggling actor. They lived together in a modest apartment but broke up because, as Lucy says, their lack of money was making them miserable. There was real affection between them, but also a gnawing sense that Lucy's ambition was outgrowing the life they'd built. Enter: Harry (Pedro Pascal), a wealthy tech founder who meets Lucy through her matchmaking work—and promptly falls for her instead. He's charming and stable, a penthouse kind of guy. He represents everything Lucy is supposed to want. Harry persists. He courts Lucy the way one might court a promising early-stage investment—lavishly, with patience. She caves, cautiously. Their relationship coincides with a professional upswing: Lucy's clients are coupling up, deals are closing, and her crown jewel match—between longtime client Sophie and a charming new prospect named Mark—feels like her magnum opus. But Materialists doesn't believe in upward trajectories. Sophie reports that Mark assaulted her, Lucy's carefully balanced portfolio of love and commerce collapses. The algorithm broke. And worse, it's personal. Harry, good on paper and good in practice, becomes collateral damage. Lucy, having sublet her apartment in anticipation of a couple's trip to Iceland, moves in with John. They travel upstate, slip into old rhythms, kiss at a wedding. But the fairytale doesn't click into place. When John asks the inevitable, 'Are we doing this again?' Lucy doesn't have an answer—only a growing awareness that she's still measuring her feelings against a spreadsheet she no longer believes in. Then comes the film's sharpest pivot: a call from Sophie. Mark is outside her apartment. The police won't help. Lucy and John race over, not as matchmaker and ex, but as people who care. They sit with her. They file the paperwork. It's a turning point—unflashy, deeply felt, and more intimate than any romantic gesture. And it makes the next one—John's proposal during a casual lunch in Central Park—feel earned, not just emotionally, but existentially. By the end, Lucy is offered a promotion she doesn't quite want, a life she no longer needs. She says maybe. She kisses John. The credits roll over a quiet tableau of marriage licenses being processed at the clerk's office. No sweeping score. No final kiss in the rain. Just a signature, a choice, and a recalibration. Materialists is not a film about choosing between men. It's a film about choosing between stories. Lucy doesn't reject ambition or romance—she just stops outsourcing her values to either. 'Materialists' is playing in theaters now. Buy Tickets
