Merciful Nuns - Body of light EP

Style: Goth Rock.
Similar Artists: Garden of Delight, Sisters of Mercy .
Recording year: 2010.











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Merciful Nuns - Lib. 1

Style: Goth Rock.
Similar Artists: Garden of Delight, Sisters of Mercy .
Recording year: 2010.



New proyect of the vocal leader of Garden of Delight Artaud Seth, called -Lib.1-.










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Pearl Jam - Live on ten legs

Style: Hard Rock.
Similar Artists: Smashing Pumpkins, Soundgarden.
Recording year: Junketboy duplicate, 2011.



Live on Ten Legs is a live album by American alternative rock band Pearl Jam released on January 17, 2011. The album is composed of songs recorded during the band's 2003–2010 world tours, and is a companion piece to their 1998 live album, Live on Two Legs.

All songs on the album have been remixed by long time Pearl Jam engineer, Brett Eliason.



Tracklist:

01 – Arms Aloft
02 – World Wide Suicide
03 – Animal
04 – Got Some
05 – State Of Love And Trust
06 – I Am Mine
07 – Unthought Known
08 – Rearview Mirror
09 – The Fixer
10 – Nothing As It Seems
11 – In Hiding
12 – Just Breathe
13 – Jeremy
14 – Public Image
15 – Spin The Black Circle
16 – Porch
17 – Alive
18 – Yellow Led Better









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Covenant - Modern ruin - Ltd. Edition - (2011)

Style: Electro Industrial
Similar Artists: Rotersand, And One.
Recording year: SPV, 2011.


Release date for 8th of February in North America with Metropolis Records, 17th of January in the rest of the world with SPV and for Scandinavia Progress Productions.












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Anne Clark & Martyn Bates - Just after the sunset: The poetry of Rainer Maria Rilke

Style: Experimental Electronic. Post Punk.
Similar Artists: Eyeless in Gaza.
Recording year: Net Music Zone, 1988.



Tracklist:
01 Silent Forces (1:58)
02 Autumn (3:22)
03 From The Book Of Pilgrimage (3:04)
04 Song Of The Sea (4:39)
05 To Music (3:04)
06 Going Blind (3:01)
07 The Garden Of Olives (1:51)
08 Time Again (3:26)
09 The Panther (2:50)
10 From The Book Of Monastic Life #1 (2:09)
11 The Fruit (3:25)
12 Early Spring (1:50)
13 The Apple Orchard (3:28)
14 From The Book Of Monastic Life #2 (2:59)
15 Autumn Day (3:17)
16 Departure Of The Prodigal Son (4:49)
17 Sehnsucht (2:09)










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Anne Clark - The Very Best of (2010) FOH Exclusive

Style: Experimental Electronic. Post Punk.
Similar Artists: Eyeless in Gaza.
Recording year: EMI, 2010.


German-only collection from the British poet, musician and artist. The Very Best Of Anne Clark Anne Clark features 19 personally selected tracks dating all the way back to her 1982 debut album. Includes four rare bonus tracks such as the Live In Montreal version of "Heaven" and remixes of 'Self Destruct', 'Our Darkness' and 'Hope Road', that were only on vinyl and out of catalog.


Tracklist

• The Sitting Room
• Short Story
• All We Have To Be Thankful For
• Echoes Remain Forever
• Wallies
• Sleeper In Metropolis
• Our Darkness
• Killing Time
• Heaven
• Alarm Call
• Peom Without Words II - Journey By Night
• Cane Hill
• This Be The Verse
• Homecoming
• The Power Game (Live)
  Bonus Tracks:
• Heaven (Live In Montreal)
• Self Destruct (Extended Version)
• Our Darkness (Remix)
• Hope Road (A-Z Route)

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Pass. on comments.

Anne Clark - Live in Bratislava

Style: Experimental Electronic. Post Punk.
Similar Artists: Eyeless in Gaza.
Recording year: Zomba, 2003.



Directly acoustic tour recorded live onto DAT by the national radio broadcast of Slovenia, at the studios of Slovak Radio in Bratislava, November 17th 2002.



01. Silent Forces
02. To Music
03. If I Could
04. Elegy For a Lost Summer
05. Autumn Day
06. Shell Song
07. Mundesley Beach
08. Sleeper in Metropolis
09. Journey By Night
10. Funky Acoustic Groove Thang Part 1
11. Dream Made Real
12. Nida
13. Our Darkness
14. The Panther
15. Abuse










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Lowlife - Diminuendo

Style: Dream Pop.
Similar Artists: Perry Blake.
Recording year: Nightshift Muzic, 1987.


Coming off like a dark hybrid of the Cocteau Twins and Joy Division/New Order, the Scottish band Lowlife was formed in 1985 by ex-Cocteau Twins (Garlands era) bassist Will Heggie and vocalist Craig Lorentson.

Followed up the strong if slightly monolithic Permanent Sleep with a more varied release, Diminuendo. Continuing to explore a darkly dramatic but never overwrought vein of post-punk atmospherics, the quartet, unchanged in lineup from its earliest releases, built beautifully on the past to further justify their increasing reputation in the U.K. "A Sullen Sky," the striking opening song, showed that even with a subtle change in the arrangements -- a touch more clarity on Craig Lauritson's echoed vocals, the hint of swooping drone keyboards in the background, a little more space overall -- the end results had that much more impact.

With that as a calling card the quartet tackled the rest of the nine songs with gusto, with experiments including acoustic guitar ("Big Uncle Ugliness") and an almost Smiths-like peppier jangle (at least initially!) on "Wonders Will Never Cease." The essential blend of the band remains strong, though, and on songs like "Off Pale Yellow," with its beautiful cascading verses, and the concluding demi-ballad "Given to Dreaming" the evidence is perfectly clear.

Each of the individual members further stretches their own talents along the way -- Grant McDowell's drumming shows more variety throughout, for instance, while Lauritson adds quick, higher pitched flourishes here and there that lighten the stormclouds in a striking fashion. The secret winner of the album might be "Licking One's Wounds," with each of the bandmembers trying for a little something different yet still sounding exactly like themselves as a whole.

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B.B. King - The Best

Style: Rythm and Blues.
Similar Artists: John Lee Hooker, Muddy Waters
Recording year: Special Product, 1992.

Universally hailed as the reigning king of the blues, the legendary B.B. King is without a doubt the single most important electric guitarist of the last half century. His bent notes and staccato picking style have influenced legions of contemporary bluesmen, while his gritty and confident voice -- capable of wringing every nuance from any lyric -- provides a worthy match for his passionate playing. Between 1951 and 1985, King notched an impressive 74 entries on Billboard's R&B charts, and he was one of the few full-fledged blues artists to score a major pop hit when his 1970 smash "The Thrill Is Gone" crossed over to mainstream success (engendering memorable appearances on The Ed Sullivan Show and American Bandstand). Since that time, he has partnered with such musicians as Eric Clapton and U2 while managing his own acclaimed solo career, all the while maintaining his immediately recognizable style on the electric guitar.

King was soon broadcasting his music live via Memphis radio station WDIA, a frequency that had only recently switched to a pioneering all-black format. Local club owners preferred that their attractions also held down radio gigs so they could plug their nightly appearances on the air. When WDIA DJ Maurice "Hot Rod" Hulbert exited his air shift, King took over his record-spinning duties. At first tagged "The Peptikon Boy" (an alcohol-loaded elixir that rivaled Hadacol) when WDIA put him on the air, King's on-air handle became the "Beale Street Blues Boy," later shortened to Blues Boy and then a far snappier B.B.

The Best of B.B. King is a budget-priced, ten-track selection of early recordings, and while there are some essential items missing, it still functions as a good, affordable sampler, featuring such hits as "Everyday (I Have the Blues)," "Three O'Clock Blues, " "Why I Sing the Blues, " "You Upset Me Baby" and "Sweet Little Angel."

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El ladrón de Bicicletas (esp)

Ladri di biciclette, es una película italiana dirigida por Vittorio de Sica en 1948 y se considera una de las películas emblemáticas del neorrealismo italiano. En 1970 fue votada una de las 10 mejores películas de la historia del cine.

Los actores que intervienen no son profesionales. Aunque la búsqueda de las personas que interpretarían los personajes fue dura. Un detalle gracioso de la búsqueda del niño, fue que De Sica, tras haber visto cantidad de niños, se decantó por éste debido a su forma de andar. Es más, la prueba de selección de los niños se reducía a verlos caminar.

Otro rasgo significativo es que todas las angulaciones de cámara están en función de lo que se quiere transmitir. Como por ejemplo la secuencia en la que con un picado se ve toda la calle mostrándonos la muchedumbre entre la que se pierde el ladrón y la impotencia del trabajador.

El ladrón de bicicletas sitúa la historia en la Italia de la posguerra donde el trabajo escasea y obtenerlo es un éxito excepcional. El protagonista de la historia tiene la fortuna de conseguir trabajo pegando carteles por la ciudad pero para poder realizarlo necesita una bicicleta, el problema es que su bicicleta está empeñada, por lo que su primera tarea será recuperarla.

Una vez montado en su bicicleta comienza a trabajar pero el drama estriba en que no transcurre ni un día de trabajo cuando le roban la bicicleta y con ella su futuro. Desde ese momento y hasta el final de la película la historia se enfocará en narrar los dos días en que el protagonista, acompañado de su hijo y algunos amigos, buscarán infructuosamente recuperar la bicicleta robada. La escena final transcurre ante el dilema moral en el que se ve envuelto el protagonista al verse arrojado a convertirse él mismo en un ladrón.

Parte 1

Parte 2

Parte 3

Parte 4

Parte 5

Parte 6

Parte 7

Parte 8

Parte 9

Parte 10

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The Who - Quadrophenia

Style: Rock and Roll, British Invasion.
Similar Artists: The Animals, The Yardbirds.
Recording year: MCA, 1973.

Pete Townshend revisited the rock opera concept with another double-album opus, this time built around the story of a young mod's struggle to come of age in the mid-'60s. If anything, this was a more ambitious project than Tommy, given added weight by the fact that the Who weren't devising some fantasy but were re-examining the roots of their own birth in mod culture. In the end, there may have been too much weight, as Townshend tried to combine the story of a mixed-up mod named Jimmy with the examination of a four-way split personality (hence the title Quadrophenia), in turn meant to reflect the four conflicting personas at work within the Who itself. The concept might have ultimately been too obscure and confusing for a mass audience. But there's plenty of great music anyway, especially on "The Real Me," "The Punk Meets the Godfather," "I'm One," "Bell Boy," and "Love, Reign o'er Me." Some of Townshend's most direct, heartfelt writing is contained here, and production-wise it's a tour de force, with some of the most imaginative use of synthesizers on a rock record. Various members of the band griped endlessly about flaws in the mix, but really these will bug very few listeners, who in general will find this to be one of the Who's most powerful statements.

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Social Distortion - Social Distortion

Style: Punk, New Wave.
Similar Artists: The Stranglers, Dead Kennedys.
Recording year: 1990, Epic.

With Prison Bound, Social Distortion began to metamorphasize from a rather ordinary L.A. hardcore band into a roots rock band willing to make with more than their share of the attitude, and this process continued on their self-titled third album (which was also their major-label debut).

Musically, Mike Ness and company had learned to split the difference between rockabilly and Ramones-style punk, not unlike fellow L.A. vets X, and if Ness couldn't sing or write with the skill or the resonance of John Doe, "Story of My Life" and "It Coulda Been Me" sound a lot more personal and deeply felt than anything on Mommy's Little Monster, and "Ball and Chain" and "So Far Away" prove he could crank out a respectable honky tonk number if he put his mind to it.

Thanks to Epic's sponsorship, the group had more time and money at their disposal for Social Distortion than on their previous albums, and producer Dave Jerden made the most of it; Mike Ness and Dennis Danell's guitars sound lean, sharp, and powerful; Ness's vocals are better controlled than ever before; and Christopher Reece's drums have a tight snap that suits both the thrashier numbers as well as the slower, blusier tunes.

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