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Body CountBody Count is Ice-T's particularly awesome thrash metal band, founded in 1990. Key tracks include 'There Goes The Neighborhood', 'The Winner Loses' and 'Body Count's In The House'.1. Smoked Pork
2. Body Count's In The House
3. Now Sports
4. A Statistic
5. Bowels Of The Devil
6. The Real Problem
7. KKK Bitch
8. C Note
10. The Winner Loses
11. There Goes The Neighborhood
13. Evil Dick
14. Body Count Anthem
15. Momma's Gotta Die Tonight
16. Freedom Of Speech$20.99Vinyl LP - Sealed Buy Now
BloodlustIncludes CD Version Of The Album
Century Media presents the LP pressing of Body Count's sixth album, Bloodlust. The album was recorded with producer Will Putney (Miss May I, Upon A Burning Body), who also produced Body Count's 2014 return, Manslaughter. Bloodlust features guest appearances by Soulfly and Sepultura frontman Max Cavalera, Megadeth mastermind Dave Mustaine and Lamb of God vocalist Randy Blythe.1. Civil War (feat. Dave Mustaine)
2. The Ski Mask Way
3. This Is Why We Ride
4. All Love Is Lost (feat. Max Cavalera)
5. Raining in Blood / Postmortem 2017
6. God, Please Believe Me
7. Walk With Me... (feat. Randy Blythe)
8. Here I Go Again
9. No Lives Matter
11. Black Hoodie
*LP & CD tracklists are identical.$25.99Vinyl LP + CD - Sealed Buy Now
Dear Diary, My Teen Angst Has A Body CountFirst Time On Vinyl
Dear Diary, My Teen Angst Has a Body Count is the debut studio album by American post-hardcore band From First to Last. It was originally released on June 29, 2004, through Epitaph Records. The title was taken from a monolog in the film Heathers, in which Winona Ryder's character is writing in her diary. Production was handled by Lee Dyess and the band themselves. The album was remastered by Beau Burchell from Saosin, however, it is not indicated on the personnel, possibly due to a contemporary feud between the band. The album also is notable for being one of the earliest projects featuring singer and multi-instrumentalist Sonny Moore (who has since launched a successful solo career as an electronic music producer and performer, under the stage name Skrillex).1. Soliloquy
2. The One Armed Box Cutter vs The Flying Guillotine
3. Note To Self
4. I Liked You Better Before You Were Naked On the Internet
5. Featuring Some of Your Favorite Words
7. Secrets Don't Make Friends
8. Populace In Two
9. Kiss Me, I'm Contagious
11. Ride The Wings Of Pestilence
12. (untitled hidden track)$19.99Vinyl LP - Sealed Buy Now
$16.99 $11.89 Save $5.10 (30%)
Wilson Semiconductors (Discontinued) (On Sale)The Howling Hex, Wilson Semiconductors: one guitar, four songs, a multitrack recording unit. Out of the desert and into the mountains, The Howling Hex are at large once again, upping the ante by lowering the body count this time around to Neil Michael Haggerty (Royal Trux, Pussy Gallore) and Mike Signs.1. Reception
2. Brunette Roulette
3. Play This When You Feel Low
4. Game Of Dice$16.99 $11.89 Save $5.10 (30%)Vinyl LP - Sealed Buy Now
MTO Plays SlyNew York City's favorite 'little big band' Steven Bernstein's Millennial Territory Orchestra cracks open wide the monumental songbook of Sly & The Family Stone on its third album, MTO Plays Sly.
On this freewheeling and jubilant 13-track tribute, MTO, propelled by a dynamic cast of special guests, treats Sly and Co. with the same reverence it would Duke Ellington or Count Basie, illuminating the melodic and harmonic sophistication of the iconoclast's body of work by re-imagining the music through the filter of their own downtown NYC aesthetic, while upholding th Day-Glo soul and psychedelic funk that is the backbone for classics like M'Lady, Everybody People and Family Affair.
MTO is Steven Bernstein, Peter Apfelbaum, Doug Wieselman, Erik Lawrence, Curtis Fowlkes, Charlie Burnham, Matt Munisteri, Ben Allison and Ben Perowsky. MTO Plays Sly also features many special guests including Anthony Hegarty, Bernie Worrell, Bill Laswell, Dean Bowman, Martha Wainwright, Sandra St. Victor, Shilpa and Vernon Reid.1. Stand ft. Sandra St. Victor, Bernie Worrell and Vernon Reid
2. Family Affair ft. Antony Hegarty
3. Sly Notions
4. Que Sera, Sera ft. Martha Wainwright
5. M'Lady feat. Dean Bowman
6. You Can Make it If You Try
7. Everyday People ft. Shilpa Ray
8. Bernie Interlude ft. Bernie Worrell
9. Skin I'm In ft. Sandra St. Victor
10. Sly Notions 2/Fun ft. Dean Bowman
11. Time feat. Dean Bowman and Vernon Reid
12. Thank You For Talkin' To Me Africa (Bill Laswell mix translation)
13. Life$18.99Vinyl LP - Sealed Buy Now
Conversations (Awaiting Repress)Stanton Moore calls his latest album Conversations both a return to my roots and a reinvention. The New Orleans drummer, who is by all counts regarded as one of the great funk musicians of all time, has delivered his first jazz trio recording. It's a return to Moore's roots because he finally gets the opportunity to record with pianist David Torkanowsky and bassist James Singleton whom he came up playing alongside on the New Orleans' club circuit. It's a reinvention because after years of delivering huge grooves and unrelenting funk at some of the worlds more revered rock clubs and festivals, Moore is stepping back to focus on the subtlety of swing and improvisation, while presenting the music via intimate settings like that of his trio's home-base Snug Harbor.
As for the album's title, one listen and it's clear. There's a vigorous musical dialogue happening among the three musicians, as they tell stories, explore ideas and trade thoughts on tracks like Lauren Z, Big Greaze and the Herbie Hancock classic Driftin'. The big easy is always close at hand with the majority of the material coming from the New Orleans composers, including James Black (Magnolia Triangle and In The Keyhole), Steve Masakowski (The Chase) and Paul Barbarin (Paul Barbarin's Second Line).
With Conversations, Stanton Moore shines a light on a side of his musical personality that will be new to fans, but every bit as compelling as the substantial body of work he's already established over the course of his 20-year career.1. Lauren Z
4. Magnolia Triangle
5. Waltz For Old Souls
7. The Chase
8. Big Greaze
9. In The Keyhole
10. Paul Barbarin's Second Line
11. Prayer$16.99Vinyl LP - Sealed AWAITING REPRESS Buy Now
H.R. Is A Dirty Guitar PlayerIn the pantheon of under-the-radar American guitar heroes, Howard Roberts looms large. A remarkably versatile musician who was one of Los Angeles' most in-demand session players from the early 1950s through the 1970s, Roberts' career encompassed an incredible array of studio assignments. He recorded with a dizzying assortment of acts, including Elvis Presley, Frank Sinatra, the Beach Boys, the Monkees, Dean Martin, Sonny and Cher, the Jackson 5, Peggy Lee, Eddie Cochran, Chet Atkins and the Electric Prunes. He also played on countless film and television soundtracks; his guitar work is featured prominently in the iconic theme music of The Twilight Zone, The Munsters and I Dream of Jeannie.
Roberts was also an accomplished musical educator, co-founding Hollywood's Guitar Institute of Technology, writing a regular instructional column on jazz improvisation for Guitar Player magazine, and penning several highly-regarded guitar instruction books. As a guitar teacher, one of his students was a teenaged Phil Spector, for whom Roberts would later work as a session man.
Impressive as his session resume is, for many guitar aficionados, the real highlights of Howard Roberts' body of work are the instrumental albums he released under his own name throughout his career. One of his best-loved solo releases is the memorably titled H.R. Is A Dirty Guitar Player, originally released by Capitol Records in 1963. Recorded at the legendary Studio A in the Capitol Tower, with a band that includes fellow studio legends Chuck Berghofer and Earl Palmer on bass and drums, H.R. Is A Dirty Guitar Player is a potent showcase for Roberts' fluid, swinging guitar work. The material offers ample opportunity for the artist to demonstrate his versatility, encompassing pop standards 9Lerner, Loewe If Ever I Would Leave You), bossa nova (Antonio Carlos Jobim's One Note Samba) and jazz (tunes by Herbie Hancock, Count Basie and Duke Ellington), along with such Roberts originals as Smolderin', Turista, Deep Fry and Dirty Old Bossa Nova.
Long unavailable in its original form, this vintage instrumental gem has been restored to its original vinyl glory by Sundazed Music. The album has been sourced from the original stereo masters and pressed on 180 gram vinyl, with complete original cover art.1.Watermelon Man
3. Liâl Darlin'
5. If Ever I Would Leave You
6. One O'Clock Jump
7. Deep Fry
8. Rough Ridin'
9. Satin Doll
11. One Note Samba
12. Dirty Old Bossa Nova$24.99180 Gram Audiophile Virgin Vinyl LP- Sealed Buy Now
Freedom & SurrenderFreedom and Surrender
The circuitous dance between the beginning and the end.
Something amazing and terrifying happened to me as I entered into my 30s. I realized that I had run far off the course of my scripted plans, my projections for who I'd be, what I'd be doing, and how it would feel at this point. Then, the realization the mapped trail couldn't be recovered. A hound without a hunt, I was captured by unfamiliar woods far from earshot of the original game and players. Untethered by marriage with a scrap pile of maternal designs that never took root, I found myself forced, thank goodness, to let go.
The pageantry of over-identifying with past experiences and old ideals had ended. In review, I found that life's unfolding had exceeded my most elaborate visions while other hopes had slipped into ruin in the clasp of my determined hands. Meanwhile, a new meekness and curiosity made all of my experiences sacred and overwhelming, something akin to a reverent depression. Desire was quieted in my heart, and I was uneasy in the cool of my newness, wondering what I really wanted to do next.
When the label suggested that I consider working with Larry Klein, my entire focus shifted with a warm shrug, Why not? He's produced some of my favorite records. Within a few conversations I had found plenty of reasons to trust the voice on the other end of the line. I knew that I was respected for my potential and achievements, and he wasn't new to dealing with strong women. Another shrug, Why not? I had plenty to sing about now, a heart cracked open by disappointment, a will broken by the truth. I was ready for a new project, the kind of baby that I knew how to make.
It was suggested to me initially that I make a record of covers. It was the very moment my hard head became bent on writing my way out of my valley, no matter how hard or long I'd have to work for it. I'd count my steps and tell stories until I met the ridge line without borrowing anyone else's view. This was not my hour to cover, but to uncover, and hopefully, the reveal would be worth something. I trembled in the wait for my own revelation.
I scurried around the country (Nashville, New York and LA) to have collaborative conversations with old and new friends. I remembered how to just sit with people and talk, even though I was on a schedule and budget. We all spoke like we were on Grandma's porch, but the work got done. To my delighted surprise, much of this record was written with Larry himself.
My average day of preproduction with him looked like: A sunrise run and swim at Santa Monica pier, showing up to his studio sandy, salty, and red faced, talking through beautiful rambles with him and David Batteau while high on espresso. Then we'd get snagged by a soulful riff from Larry's acoustic bass guitar as he noodled along (seemingly) aimlessly. Often a story would present a hook and we'd return the next day with responses. This felt like an old and dignified pace of work, but also kind of risky. However, I looked up after a few months of these weeklong neighborly sits and real songs were following us, a train getting longer, each car intact and connected as we rolled on.
In the evenings I listened to demos of the budding songs on my phone as the sun set over the Pacific. I could see them, unmade movies. The tide of communion would pull back and the shining pieces left could be made into anything. This is when I knew that I had, in these mosaic sessions, stumbled upon a new page of my life.
I remembered the feeling of being found. One of the most moving songs from it's inception was, Somewhere Down the Mystic. Playing on the simple wonders of my rustic Appalachian life, we imagined a love lost to death and the feeling of it's lasting warmth, a nod to love's reach across life's threshold.
Months later, on February 20th, I had a near death experience, sliding across 300 yards of ice coated mountain curve. I softened my body and rested my hands in my lap. The heavy car floated silently towards a 75 foot ravine that ended with a wide band of frozen creek. Ok was the only thing I could get out in a sigh. I was stopped by a young bellwood tree that grew out of the bank like a hook. I slowed my breathing and meditated in suspension. About 20 minutes later, a young neighbor pulled the door open, reaching in with a strong arm to guide my climb out. Now when I sing the chorus, I see the gracious hole and the sweet sapling that grows over it. It threw me back, a fish returned to the river with a cut lip.
The pink bells of the tree can be seen on my homepage, and I want to keep such simple things close from now on. Why not? They were strong enough to save me. In surrender I experience freedom. The gift of an end is a beginning. I greet the sun with the only reason I've ever needed, why not?
-Lizz Wright1. Freedom
2. The Game
3. The New Game
4. Lean In
5. Right Where You Are
6. River Man
7. Somewhere Down The Mystic
8. Real Life Painting
9. To Love Somebody
10. Here And Now
12. Blessed The Brave
13. Surrender$24.99Vinyl LP - 2 LPs Sealed Buy Now
Marigolden"The body remembers what the mind forgets," Chris Porterfield reminisces on his acclaimed band Field Report's sophomore record, Marigolden. The record is strewn with references to the inevitable tolls taken by the passage of time, and prolonged distance from home and loved ones.
The past couple of years have flashed by for Porterfield, who was thrust into the spotlight after years of musical reclusion. His Milwaukee-based band, Field Report (an anagram of his surname), was culled together in the studio while recording their 2012 self-titled debut. They suddenly found themselves championed by their former idols: offered support tours by Counting Crows and Aimee Mann, lauded by the likes of Mark Eitzel and Richard Thompson, and covered by Blind Boys Of Alabama.
The band honed itself from a septet to a quartet in the year that followed, focusing its sound and tightening the screws. With a heavy batch of songs under their arms, they retreated to snowy Ontario in December 2013 to record their sophomore album, Marigolden, with the help of producer Robbie Lackritz (Feist).
Spending two years roaming around the country playing tiny venues and sold-out amphitheaters alike, Porterfield was uncertain whether he was leading the charge toward an artistic epiphany or headed down a misguided path of self-destruction. Marigolden reflects this, as he ruminates across homesick tension and an un-grounded anxiety. But rather than wallow in melancholy, Porterfield finds solace and inspiration through his songs, which reveal themselves as uplifting and celebratory. The album is brighter than their 2012 debut, but somehow remains just as elegantly ominous.
Marigolden's second track, the surprisingly catchy radio single "Home," finds Porterfield on the road, hoping the home, wife, dog, and life he left behind in Milwaukee will still be there upon his return. "Leave the lights on," he asks, "it might be nighttime when I get there, but I'm on my way home." While the song contemplates lonesomeness, there is an undeniable sense of hope driving it. In "Summons," the penultimate track, he recalls this thought, repeating, "I'll be coming home to you" like a mantra. This sense of balance and symmetry across the album helps provide stability to the otherwise volatile themes. Case in point: the album starts with a sunrise in "Decision Day" and ends full circle with another in "Enchantment."
Whether reconsidering sobriety in "Pale Rider," sticking to tonic water in the bars of "Summons," or cashing in a 30-day chip for a kiss in "Enchantment," Porterfield's relationship with alcohol runs through the current of nearly every song. Most notably in "Ambrosia," where he find himself face to face with the reality of where his drinking is destined to lead.
The album runs the musical gamut, from the Traveling Wilburys-esque pop of "Home," to the Neil Young-inspired piano ballad "Ambrosia," to the electronic sonic landscape of "Wings." While the compositions express a wide range in terms of genre, they find unity in themselves within the limits of self-imposed minimalism. In the studio, the songs were stripped down to the bones and built back up using only their essential elements.
Sequestered in a seemingly never-ending Ontario blizzard, the band only broke from this musical process to add logs to the stove, with the snow and the fire providing a proper background for music so rooted in the elemental. The effect that this fundamentals-based approach achieves is universal: the sparse arrangements and common themes speak to everyone, but somehow feel tailored to each listener. The title itself reflects this, a portmanteau of two common images (marigold and golden) to create something that feels both idiosyncratic and familiar: Marigolden.1. Decision Day
2. Home (Leave The Lights On)
3. Pale Rider
4. Cups and Cups
10. Enchantment$16.99Vinyl LP - Sealed Buy Now
The Chase Is On (Pure Pleasure)The twin tenor sax tradition yielded grand pairings with the likes of Wardell Gray and Dexter Gordon, Arnett Cobb and Eddie 'Lockjaw' Davis, Gene Ammons and Sonny Stitt, and Al Cohn and Zoot Sims. This one-shot teaming of Charlie Rouse and Paul Quinichette brought forth a union of two distinctly different mannerisms within the mainstream jazz continuum. Rouse, who would go on to prolific work with Thelonious Monk and was at this time working with French horn icon Julius Watkins, developed a fluid signature sound that came out of the more strident and chatty style heard here. By this time in 1957, Quinichette, nicknamed the Vice Prez for his similar approach to Lester Young, was well established in the short term with Count Basie. His liquid, full-bodied, soulful tone became an undeniable force, albeit briefly, before he dropped out of the scene shortly after this date to be an electrical engineer. The stereo split of the saxophonists in opposite channels, a technique endemic of the time, works well whether they play solos or melody lines together. It enables you to truly hear how different they are. Working with standards, there's a tendency for them to play the head arrangements in unison, but then one of them on occasion plays an off-the-cuff short phrase that strays from the established melodic path. They also seem to do a hard bop jam, then a ballad, and back to hard swinging.
The title track is simply a killer, a perfect fun romp of battling duelists, and one that you'd like to hear in any nightclub setting. Some slight harmonic inserts set This Can't Be Love apart from the original and The Things I Love displays the two tenors at their conversational best, while the lone original, Knittin', is a fundamental 12-bar swing blues, straight up and simple but with some subtle harmonic nuances. The rhythm section of pianist Wynton Kelly, bass player Wendell Marshall, and drummer Ed Thigpen do their usual yeoman job. But on two tracks, pianist Hank Jones and rhythm guitarist Freddie Green take over, and the sound of the band changes dramatically to the more sensitive side on a low-down version of When The Blues Come On and the good-old basic vintage swinger You're Cheating Yourself. The combination of Rouse and Quinichette was a very satisfactory coupling of two talented and promising post-swing to bop individualists, who played to all of their strengths and differences on this worthy -- and now legendary -- session.
- Charlie Rouse, Paul Quinichette (tenor saxophone)
- Wynton Kelly, Hank Jones (piano)
- Freddie Green (guitar)
- Wendell Marshall (bass)
- Ed Thigpen (drums)
Recording :August and September 1957 in New York
About Pure Pleasure
At the beginning of the 90s, in the early days of audiophile vinyl re-releases, the situation was fairly straightforward. Companies such as DCC, Mobile Fidelity, Classic Records and, of course, Pure Pleasure all maintained a mutual, unwritten ethical code: we would only use analogue tapes to manufacture records.
During the course of the present vinyl hype, many others have jumped on the bandwagon in the hope of securing a corner of the market. Very often they are not so ethical and use every imaginable source to master from: CDs, LPs, digital files, MP3s - or employed existent tools from the 80s and 90s for manufacturing.
A digital delay is gladly used when cutting a lacquer disc because tape machines with an analogue delay have become quite rare and are therefore expensive. When cutting the lacquer, the audio signal is delayed by one LP revolution against the signal, which controls the cutter head, and for this a digital delay is very often employed. Of course, the resultant sound signal is completely digital and thus only as good as this delay.
We should like to emphasize that Pure Pleasure Records on principle only uses the original master tape as the basis for the entirely analogue cutting of lacquer discs. In addition, the pressing tool is newly manufactured as a matter of principle.
We only employ existing tools for manufacturing if an improved result is not forthcoming, e.g. the title Elvis Is Back, which was mastered by Steve Hoffman and Kevin Gray, or several titles from our Philips Classics series, which in any case Willem Makkee cut from the original masters at the Emil Berliner Studios in the 90s. It goes without saying that we only used the mother and that new tools were made for our production.
To put it in a nutshell: we can ensure you that our releases are free from any kind of digital effects and that the lacquer discs are newly cut.1. The Chase Is On
2. When The Blues Come On
3. This Can't Be Love
4. Last Time For Love
5. You're Cheating Yourself
7. Tender Trap
8. The Things I Love$34.99180 Gram Audiophile Virgin Vinyl LP - Sealed Buy Now
Completement FouYelle's third album will be released on the hit-maker's own Kemosabe Records and the team-up makes good sense. Though these Frenchies may not have one of the household names we're used to seeing next to that man's handle (Katy Perry, Robin Thicke, Britney Spears) they've long possessed an originality of voice and strength in songwriting that transcends whatever their trappings. Of course, they see it a bit differently. "We just do things we love," says Yelle, nÉe Julie Budet. "This is the only rule we have. At the end of the day this is what makes Yelle: Spontaneity."
And Yelle once again make an album that is pure Yelle. Complètement Fou is equally wild and wry, celebratory and melancholy, sensual and strange, forceful and full of fun. Cofounder and key composer GrandMarnier (Jean-François Perrier) laid down the frame for each song. Then Luke and his ace team - Oliver, Cirkut, Kool Kojack, A.C, Billboard, JMIKE, and MadMax - amplified what was already there instead of inventing a new identity. Collaboration was new territory, but it was the perfect path forward to advance the bouncy, synthesizer-rich sound of 2011s Safari Disco Club.
Look no further than the titular track to hear that growth in action: "Complètement Fou" opens with chopped rave keys, round sequencer blips, a mighty low-end kick, and playful effects à la Basement Jaxx. Then comes Yelle's voice - a transcendent thing that compliments those lush electronics so well. While "Coca Sans Bulles" tows the dark/light line between '80s electro oddness and Daft Punk disco, "Jeune Fille Garnement" slinks/surges like the Knife's freaky outrÉ techno. "Ba$$in" swirls rap with Eurodance; "Dire Qu'on Va Tous Mourir" puts R&B through a Oneohtrix filter.
And then there's "Moteur Action," a song whose summer breeziness suggests a top-down highway ride, oversized sunglasses on, scarf trailing behind. Though knowing Yelle, the lyrics aren't so blithe as those ebullient oohs might have you believe. Our heroine explains the album's primary themes as "relationships, love, bodies, dance, and sensuality, but also death." Ecstasy prevails in parts too. We'll let you seek your own translation of "Nuit de Baise," but "Florence en Italie" was inspired by Stendhal Syndrome, which causes viewers of particularly moving art to swoon and pass out.
Yelle sought a lyrical partner for Complètement Fou as well: "a French dandy called JÉrôme Echenoz," in her words, though he's best known as Tacteel (of TTC, for those who remember the details of Yelle's 2007 debut, Pop Up). "We used to do everything by ourselves," she says, "but we wanted to open the circle this time around because we love people!" She insists there are no direct dis songs in the vein of "Je Veux Te Voir," only "some winks here and there not personal, more about society." To wit, she counts Votaire's monumental 1759 satire Candide among the LP's influences.
At the heart of Yelle today is the same spirit that brought the pair formerly known as Julie and Jean-François together, as great friends, in 2000. They initially called their project YEL - an acronym for "You Enjoy Life" - but the exuberant, feminized, Francofied shout they've taken for a moniker suits them perfectly. We yell when we are happy with the world and we yell when we're pissed off at its ways. But we probably yell our best when we're complètement fou.
- France Rocks1. Complètement Fou
3. Coca Sans Bulles
4. Les Soupirs Et Les Refrains
5. Nuit De Baise I
7. Moteur Action
8. Florence En Italie
9. Un Jour Viendra
10. Nuit De Baise II
11. Jeune Fille Garnement
12. Dire Qu'on Va Tous Mourir
13. Bouquet Final$26.99Vinyl LP + CD - Sealed Buy Now
Prestige Series SR60e Headphones
Have a question about this product? Please email our audio advisor or call 1-877-929-8729 with any questions or concerns regarding your equipment purchase.
Your Music is More
Everyone loves a thumping bass and kick-drum, but not at the expense of everything else. The Grado SR60e is your entry to the world of full spectrum audio. You'll actually hear notes you never knew were there. Perhaps your audiophile friends have fueled a desire for the legendary Grado sound but you thought it was out of reach. Try a pair of our affordable open-back headphones and experience fuller, more realistic sound. Club-footed imports can't match the sonic enlightenment from Brooklyn, USA.
Grado has taken one of the world's most legendary headphones and made it even better. The SR60e has a new driver design, a new polymer to better damp resonant distortion in the plastic housing, and a new cable from plug to driver connection. The way the SR60e's new driver and plastic housing move air and react to sound vibrations virtually eliminate transient distortions. This allows the signal flow over the new cable to reproduce sound that has tight control of the upper and lower range of the frequency spectrum, while supporting Grado's world renowned midrange. The SR60e will produce a sound that is pure Grado, with warm harmonic colors, rich full bodied vocals, excellent dynamics, and an ultra-smooth top end.
Frequently described as the gateway to audiophile sound, the Grado SR60 headphones hold the title of best full-size open headphones for less than $100 - many models that cost twice as much don't sound as good. The retro-looking SR60 headphones have punchy but natural sound and will floor most first-time listeners.
You'll be hard pressed to find a better pair of headphones for the money than the Grado SR60. The upper mids/highs reveal excellent detail, and the bass is solid too. I bought a pair about 8 years ago and I swear the price was the same as it is today. Good price, simple looks, practical and sophisticated where it counts: in the sound.
- Chris Jones / The Perfect Vision magazine
This product is not eligible for discount.$79.00Headphones Buy Now
CeremonyIt begins with the sound of a church organ, an arpeggio played on the lower notes, a melody teased out in the higher register, before a snare drum beats out an ominous, stuttering tattoo. Three minutes in, guitars begin to rumble like clouds gathering on the horizon, the melody slowly swelling, threatening to tear the sky apart. This is Anna Von Hausswolff's "Epitaph Of Theodor", and as dramatic, instrumental openings to albums go, it's close to overwhelming. But it's followed by something even more intense: "Deathbed", which growls and resonates sinisterly before shards of metallic thunder shatter the drones and a funereal beat forces the song to lurch forward. Only after some four and a half minutes of this ferocious clamour do we hear a human voice, and it's unleashed with a fierce power, rising and swooping, a vast bird pursuing its prey until the song reaches its final, unexpectedly triumphant climax.
You want to talk about compromises? No. Nor does Anna Von Hausswolff.
These two songs alone represent a quarter of 'Ceremony's sixty minutes, but there are eleven more on an album that confounds and dumbfounds from its start to its end. To those who used Anna Von Hausswolff's debut album, Singing From The Grave, to compare her lazily to Kate Bush, it will come as a brutal shock. The fragile atmospheres of that impressive debut, one that earned her huge acclaim in her native Sweden, have been blasted away, and what's emerged from the wasteland left behind is a dizzying masterpiece that, she proudly states, calls upon, amongst others, Elizabeth Fraser, Jefferson Airplane, PJ Harvey, Earth, Barn Owl, Nick Cave and Diamanda Galás.
Though she now lives in Copenhagen, she grew up in the once vibrant, bohemian neighbourhood of Haga in Gothenburg, Sweden, to a family who counted amongst their ancestors Bernhard Reynold von Hausswolff, an 18th Century governor of Falun, Sweden, who helped bring an end to the burning of witches. Her father, Carl Michael von Hausswolff, is a composer and visual artist who's also co-monarch of the kingdoms of Elgaland-Vagaland, so it's perhaps not surprising that she's chosen to pursue a radical direction with her music.
"I didn't just want 'Ceremony' to be a collection of songs," she says. "I wanted it to be like a film, with every single part connected to the other, with shifting moods and settings, but a thread holding all the tracks together. I listen to a lot of film scores, and in many the music is able to move freely without the typical structures that we find in commercial music."
Arguably 'Ceremony's most significant ingredient is the church organ of Gothenburg's vast Annedalkyrkan, whose pipes are featured on the album's striking cover. Employed on nine of the album's thirteen tracks, it also provided von Hausswolff with the excuse to record for five days in the century old building, its cavernous space adding to the record's formidable magnitude. (Work was completed at weekends over several months in producer Filip Leyman's studios.) She found in the organ's sound a link between her own writing and a developing obsession with "drone metal", allowing her to add layers of thick textures to the songs. But - thanks to its inevitable associations with existence and mortality - the organ also suited the themes that lay at the heart of the record, which she defines as "nature and death, or the division of humanity and nature. From the moment we exit the womb, we start our paths towards materialism and destructive behaviour, and these days I feel that the gap between nature and human is growing bigger. I wanted to grasp my inner nature and be unified with nature again. 'Ceremony' is a celebration of life and everything that it contains, especially death, because in death we will be truly one with nature again."
That's not to say that 'Ceremony' is a bleak record, something highlighted by the extraordinary "Harmonica", which sounds like Dead Can Dance channelling a Vashti Bunyan song with arrangements by Ennio Morricone. "It's a song I wrote just after my grandfather passed away," she recalls. "It's about how culture and traditions can travel from generation down to generation, and in this case from him to me by music. Just before he died, he gave me a harmonica and he told me to practise hard and only write about things that are relevant to me. His deathbed inspired me to make 'Ceremony'."
He'd surely be proud of the bold, single-minded consequences of his legacy. Whether it be the placid but grandiose "Ocean", the hymnal "Mountains Crave", the grim, experimentalist "No Body" or the oddly exhilarating "Funeral For My Future Children", 'Ceremony' is a genuinely thrilling, timeless, inventive and even sometimes - in the purest sense of the word - gothic accomplishment.
"This record isn't really about Anna von Hausswolff as a vocalist or as a person," she concludes. "It's about the music and all that it contains. Singing from the Grave was a raw and emotional record that happened fast. I think of it as an impulse. 'Ceremony' is more of a vision: something unfinished and unresolved, a glimpse of the future."1. Epitaph of Theodor
3. Mountains Grave
5. Red Sun
6. Epitaph of Daniel
7. No Body
8. Liturgy of Light
12. Funeral for my Future Children
13. Sun Rise$18.99Vinyl LP - Sealed Buy Now