Katy Perry's PRISM 'ZinePak is a must-have collectible for all Katy Perry fans! The PRISM 'ZinePak features the deluxe 16-track CD enclosed in a 64-page magazine that Katy helped create. The magazine includes an exclusive, in-depth interview with Katy about the inspiration behind her new music and the things she loves, plus lyrics and dozens of new photos.
The PRISM 'ZinePak also features exclusive merchandise that Katy designed for fans to celebrate PRISM, including an embroidered patch, 49 nail decals, temporary tattoos to symbolize each of her albums, a sample of the fragrance Killer Queen, and a plantable PRISM logo with wildflower seeds.
2. Legendary Lovers
4. Walking On Air
6. Dark Horse (feat. Juicy J)
7. This Is How We Do
8. International Smile
10. Love Me
11. This Moment
12. Double Rainbow
13. By The Grace Of God
15. It Takes Two
16. Choose Your Battles
Brand: Mars Volta, The
MARS VOLTA THE DELOUSED IN THE COMATORIUM On De-loused in the Comatorium, the Mars Volta approach rock & roll like it's an ascetic discipline, a calling that comes with lyric sheets as dense and impenetrable as the Kabbalah and a ritual of worship that's dervish-like in its intensity. Formed by vocalist Cedric Bixler and guitarist Omar Rodriguez after the split of their former band--Texan hardcore legends At the Drive-In, who splintered acrimoniously in 2001--the Volta are an unashamedly progressive outfit, dealing in grandiose arrangements that come on like Led Zeppelin fired through Saturn's rings. You can still hear many of ATDI's hallmarks inside the spasmodic dynamics of "Take the Veil Cerpin Taxt" and "Eriatarka"--it's just now they're immeasurably more complex, governed by time signatures responsible only to some alien logic, and cast out on ever more remote waves of mind-bending conceptual fantasy. Bixler's serrated howl has mellowed somewhat, veering here from tender croon to shrill falsetto. And interestingly, Flea guests here, although you wouldn't know it: his brooding basslines bear nothing of the slap-happy funk he displays in the Red Hot Chilli Peppers. But ironically, the most startling contribution comes from the band's late sound manipulator Jeremy Ward, who passed away after a heroin overdose on the eve of this album's release. His dubby ambient fills unfurl in the valleys between each jagged instrumental peak, lending a truly otherworldly feel to proceedings. A morbid legacy, but thankfully, far from this album's only selling point: De-loused in the Comatorium is the rare prog-rock landmark that prizes punk passion over meandering pretension. -- Louis Pattison
Filmed on November 29, 2002 before a sold-out audience at Royal Albert Hall the CONCERT FOR GEORGE is a beautifully filmed, joyous celebration of some of the most significant music of the 20th century. Include breathtaking performances of some of George's songs from rock's most influential artists and pop culture icons including, Eric Clapton, Jeff Lynne, Paul McCartney, Tom Petty, Billy Preston, Monty Python, Anoushka Shankar, Ravi Shankar, and Ringo Starr. This 2 DVD set is produced in 5.1 Dolby Digital and DTS surround sound.
Manufacturer: Merge Records
Brand: ARCADE FIRE
Fronted by the husband-and-wife team of Win Butler and Râ€šgine Chassagne, the Arcade Fire's emotional debut - rendered even more poignant by the dedications to recently departed family members contained in its liner notes - is brave, empowering, and dusted with something that many of the indie-rock genre's more contrived acts desperately lack: an element of real danger. Funeral' s mourners - specifically Butler and Chassagne - inhabit the same post-apocalyptic world as London Suede's Dog Man Star; they are broken, beaten, and ferociously romantic, reveling in the brutal beauty of their surroundings like a heathen Adam & Eve. "Neighborhood #1 (Tunnels)," the first of four metaphorical forays into the geography of the soul, follows a pair of young lovers who meet in the middle of the town through tunnels that connect to their bedrooms. Over a soaring piano lead that's effectively doubled by distorted guitar, they reach a Lord of the Flies-tinged utopia where they can't even remember their names or the faces of their weeping parents. Butler sings like Radiohead's Jonny Greenwood used to play, like a lion-tamer whose whip grows shorter with each and every lash. He can barely contain himself, and when he lets loose it's both melodic and primal, like Berlin-era Bowie or British Sea Power. "Neighborhood #2 (Laâ€¹ka)" examines suicidal desperation through an angular Gang of Four prism; the hypnotic wash of strings and subtle meter changes of "Neighborhood #4 (7 Kettles)" winsomely capture the mundane doings of day-to-day existence; and "Neighborhood #3 (Power Out)," Funeral's victorious soul-thumping core, is a goose bump-inducing rallying cry centered around the notion that "the power's out in the heart of man, take it from your heart and put it in your hand." The Arcade Fire are not bereft of whimsy. "Crown of Love" is like a wedding cake dropped in slow motion, utilizing a Johnny Mandel-style string section and a sweet, soda-pop stand chorus to provide solace to a jilted lover yearning for a way back into the...
Five years since their last release, Trans-Siberian Orchestra return with a double album of all new material, entitled 'Nightcastle'. 'Nightcastle' is the Capra- esque story of someone changing their life for the better. The physical version of the album includes a 68 full color illustrated booklet.
A startlingly diverse effort, the Beasties' fifth LP saw the welcome addition of a new DJ, the abundantly skilled Mix Master Mike of the Invizibl Skratch Picklz. a quirky but effective combination of old school fundamentals ("Three MC's and One DJ") and futuristic trickery ("Intergalactic"), this album successfully conveys their energy, originality, and spark. This 2 LP set is pressed on 180 gram vinyl.
Weird Al Yankovic ~ Running With Scissors The king of pop parodies returns with another zany collection of tunes that poke fun at pop culture. There are a handful of undeniably funny moments--notably "The Saga Begins," which pairs the tune to Don McLean's horrendously sentimental "American Pie" with the plot to the first Star Wars prequel, and a fun, nonstop-dancing polka medley of late-'90s hits that starts with the Spice Girls and ends with Semisonic. Overall, Running with Scissors is well-executed and actually humorous, but the material is a day late and a dollar short. "Pretty Fly for a Rabbi" is funny once, maybe, but the majority of the disc consists of tepid takes on yesterday's news; the best jokes are devoted to Jerry Springer, Eddie Vedder, the Swing craze, and this place called Silicon Valley where they make computers. Why didn't someone tell Weird Al that a parody of Nine Inch Nails' lifeless industrial pop would have already sounded dated in 1995? It must be hard to stay on top of all the current trends and parody them as they happen, but that is something that Weird Al has done in the past, and perhaps will do again. --Mike McGonigal
Sarah McLachlan: Fumbling Towards Ecstasy! 1993 Arista / BMG Direct Issue! Personnel: Sarah McLachlan (vocals, acoustic & electric guitar, piano); Bill Dillon (guitar, Guitorgan, piano, bass); Jane Scarpantoni (cello); Michel Dubeau (saxophone); Pierre Marchand (piano, keyboards, bass, percussion, programming); David Kershaw (Hammond B-3 organ); Brian Minato (bass); Jerry Marotta (drums, percussion); Guy Nadon, Ashwin Sood, Lou Shefano (drums). TRACKS: 1. Possession; 2. Wait; 3. Plenty; 4. Good Enough; 5. Mary; 6. Elsewhere; 7. Circle; 8. Ice; 9. Hold On; 10. Ice Cream; 11. Fear; & 12. Fumbling Towards Ecstasy. Pre-Lilith Fair, McLachlan had critical acclaim and a cult following but was otherwise just another hard-working female singer/songwriter--one who wasn't blasting down doors with overt sexuality or popping along in front of a male Svengali. Similar in their emotional urgency to her more recent work but delightfully less polished, these folk-rock songs are surprising gems. If not for McLachlan's poignant vocals, lyrics like "Your love is better than ice cream" (on "Ice Cream") would sound childishly absurd (especially alongside deeper material like "Hold On"), but here they're given just as much respect as the weightier issues she explores. A great album to accompany your moments of introspection. --Rebecca Wallwork
Mars Volta - Frances the Mute (CD) If one needed further proof of the contemporary revival/reassessment of the ambitiously overwrought sensibilities once so reviled in '70s rock, this aggressively mindbending second album by the Mars Volta offers it up in spades. Band mainstays Omar Rodriguez-Lopez and Cedric Bixler-Zavala insist that labels like "prog" don't interest them, and that this is emphatically not a "sequel" to 2003's De-Loused in the Comatorium. What it is was thematically inspired by a stranger's diary allegedly found by late bandmate Jeremy Ward, the basis for an expansive, often amorphous musical head-trip that brews psychedelia, trance, hard-rock and free-jazz into a daunting new whole. The dozen tracks here represent but five "songs" proper, though the band's disdain for conventional track banding inspire it to sound more like a stream-of-consciousness soundscape from Can--or a dark, lyrically inventive, if decidedly troubled corner of their ids. On the "Umbilical Syllables" portion of "Cygnus.." and "The Widow" Bixler-Zavala invokes the wailing, Led Zeppelin II & III spirit of Robert Plant set against a feverish, swirling melange that's anything but the blues. The vocalist coaxes "L' Via l'Viaquez" en Espanol, while his band indulges its space-mambo conceits with an evocative spirit that recalls Latin Playboys at their most mischievous. It's an album that loops back on itself in a haunting ellipse--and one whose boundless ambition makes Pink Floyd sound like three-chord bar punters by comparison. --Jerry McCulley