Alethea Faust Sex Wizards

Leah lavora come redattrice per un giornale di economia di New York che sta preparando l'ultimo numero. Presto Leah sarà disoccupata. Sempre più spesso si reca alla Grand Central Station, il luogo che le ricorda il padre mancato qualche anno fa e che in qualche modo riesce a consolarla. Una mattina viene avvicinata da uno sconosciuto, che le consegna una chiave e poi svanisce tra la folla. Ma che significa? Che porta apre questa chiave? Oppure si tratta di uno scherzo? Quando sempre più persone raccontano di aver ricevuto chiavi simili, e per di più senza spiegazione, Leah decide di indagare…

David Quinn and Tim Vigil's Faust: Love of the Damned mini-series began its sex-and-gore drenched run published by Northstar Comics and eventually became self-published on Quinn and Vigil's own Rebel Studios label, having made it to thirteen issues at the time of this review. The story centers on John Jaspers, a man whose girlfriend is killed and who makes an unwise deal with the devil (aka "M" … short for Mephistopheles, get it?) to gain revenge, becoming a horned demon with razor claws for slicin' and dicin'.

Angel Dare went into Witness Protection to escape her past – not as a porn star, but as a killer who took down the sex slavery ring that destroyed her life. But sometimes the past just won't stay buried. When a former co-staris gunned down, it's up to Angel to get his son, a hotheaded MMA fighter, safely through the unforgiving Arizona desert, shady Mexican bordertowns, and the seductive neon mirage of Las Vegas…

“The most dramatic piece that Berlioz ever wrote,” is how conductor John Nelson describes La Damnation de Faust. The composer designated this thrilling hybrid of oratorio and opera a ‘légende dramatique’. Following in the triumphant footsteps of Les Troyens, also recorded at the Auditorium Erasme in Strasbourg, this performance reunites Nelson and the Orchestre Philharmonique de Strasbourg with singers Michael Spyres, Joyce DiDonato and Nicolas Courjal.

“The most dramatic piece that Berlioz ever wrote,” is how conductor John Nelson describes La Damnation de Faust. The composer designated this thrilling hybrid of oratorio and opera a ‘légende dramatique’. Following in the triumphant footsteps of Les Troyens, also recorded at the Auditorium Erasme in Strasbourg, this performance reunites Nelson and the Orchestre Philharmonique de Strasbourg with singers Michael Spyres, Joyce DiDonato and Nicolas Courjal.

The members of Faust are the jokers in the Krautrock pack – jokers because they never formed with any serious intentions, and jokers, too, because whatever preconceptions you might have in approaching that most disreputable-sounding of sonic genres, Faust is guaranteed to explode them. Julian Cope, author of the music's most lasting textbook (1995's Krautrocksampler), steadfastly describes Faust as the most mythical of all the bands forced to the surface by the cultural earthquakes of late-'60s Germany – and that's mythical in every sense of the word.

The international success of after its premiere in 1859 completely overshadowed all of Gounod’s subsequent operas. He had known Goethe’s masterpiece for two decades and brought to the text his gifts for memorable melody and rich orchestration. Added to this, the plot of Faust’s ageing and the heroine Marguerite’s redemption, offered the opportunity for the most spectacular stage effects. Heard here in its 1864 London version with an additional air and without spoken dialogue or ballet, Faust represents 19th-century French opera at its peak.