[Avant-garde] Diamanda Galas

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Diamanda Galás (born August 29, 1955) is an American-born avant-garde performance artist, vocalist, keyboardist, and composer of Greek heritage.

Known for her expert piano as well as her distinctive, operatic voice, which has a three and a half octave range, Galás has been described as "capable of the most unnerving vocal terror"



Пара альбомов. Первый еще с аккопманементом фортепьяно-пианинным. Второй - без всего. Просто голосовое сумасшествие.

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[kot]

воо спасибо

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Diamanda Galás - Defixiones- Will and Testament, Orders from the Dead (2005)



"Defixiones: Orders From the Dead," an 80-minute memorial tribute to the Armenian, Greek and Assyrian victims of the Turkish genocide, deploys all the darkly expressionistic musical resources in Diamanda Galas' considerable arsenal -- from operatic shrieks to guttural growls, with stops in between for lullabies, ululations and simple (and not-so-simple) recitation.Appearing in the first of two shows at the Yerba Buena Center for the Arts Theater, Galás used these techniques as she always has, to craft a dark and theatrically potent howl of defiance and despair. Her work is not for the faint of heart. Though it's been in the works for at least seven years, the piece has a certain odd timeliness. It comes on the heels of the politically charged decision to award the Nobel Prize for literature to Turkish novelist Orhan Pamuk, as well as France's passage of a law making it a crime to deny the Armenian genocide. In "Defixiones" (the title refers to warnings printed on gravestones against moving the remains of the dead), there are texts in Armenian, Greek, Assyrian and Turkish as well as English. Listeners not conversant in those tongues can read the translations ahead of time (once the show begins, sepulchral darkness prevails).Poems, oral testimony, news reports, Turkish propaganda -- are right at the forefront [and] Galás sings or declaims them with exemplary diction, as though the audience needed to catch every word.


DISC A
THE DANCE:
1. Ter Vogormia
2. The Desert Part I
3. The Desert Part II
4. Sevda Zinciri
5. Holokaftoma
6. Ter Vogormia (reprise)
7. The Eagle of Tkhuma
8. Orders From The Dead
.
DISC B
SONGS OF EXILE:
1. Hastayim Yasiyorum
2. San Pethano
3. Je Rame
4. Epistola a Los Transeuntes
5. Birds Of Death
6. Anoixe
7. Todesfuge
8. Artémis
9. See That My Grave Is Kept Clean

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Guilty Guilty Guilty (2008)



Diamanda Galas não tem precedentes na música, tem uma voz indescritível, só ouvindo pra entender!
.
1. 8 Men and 4 Women
2. Long Black Veil
3. Down So Low
4. Interlude (Time)
5. Autumn Leaves
6.O Death
7. Heaven Have Mercy

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Plague Mass (1984 - End Of The Epidemic)



On October 12-13, 1990 Diamanda Galás performed the Plague Mass at the Cathedral of St. John the Divine.“Death, like life, has its own music and in the convulsive Plague Mass of Diamanda Galás, all that is holy and unholy, pure and defiled, beatific and profane is woven together on the loom of daemonic celestial hymnody and incandescent hate. Galás’ unearthly instrument -her own spectral multi-octave voice- is fueled by febrile seething hatred and brutal compassion. Hatred for the genocidal disease -AIDS- and the homophobic power-elite who would deny the dying the simple dignity and humanity accorded the arteriosclerotic and the cancerous. In her Plague Mass, Galás gives voice to an army of tortured souls, the ones who can no longer sing for themselves: the infirm, the insane, the dead who will not rest in peace.Galás’ work has been called Satanic, and, in fact, it is. Not the piddly cartoon Satanism of puerile metalloids, but rather the heroic outlaw devil-conjuring of Milton’s Paradise Lost: Lucifer the bringer of light, defyer of “God,” pariah, outsider, martyr. Galás’ Satan is not unlike the crucified outlaw, Jesus, murdered by the religious order of the day. Denounced in Italy last August by the members of the government for committing blasphemy against the Catholic Church during her performance at the Palace of the Medici’s, Galás makes no apologies, offers no simple explanations. The Plague Mass is a rite that sanctifies the outcast, scourges the bigoted and brain-dead, and vilifies the sanctimonious. The Plague Mass is an act of war, and girded for battle, Galás performs it swathed in blood.She mounts the pulpit, the harangue of a truth beyond metaphor and the revelation of the truly Satanic: the same pious fucks who strung Jesus up the tree two thousand years ago are using his name to justify the deaths of –and deny mercy to- our brothers and sisters who now lie crippled, insane and withering from within, seared by an uninvited virus, so insidious, it steals the body’s biological right to defend itself against disease.At the end of her journey through the torment s of the damned, Diamanda Galás asks God and man, like the Old Testament prophets and slaves in the field, to “Let My People Go”.Authentically liturgical and truly blasphemous, the Plague Mass is a convocation of souls and an invocation of energy. AIDS is the whimpering apocalypse; the real horror is when we turn away. We are all shrouded in the Plague and this is war. The only thing worth dying for is each other.”
[Tim Holmes]
.
1. There Are No More Tickets to the Funeral: Were You A Witness (I)
2. There Are No More Tickets to the Funeral: Were You A Witness (II)
3. There Are No More Tickets to the Funeral: Were You A Witness (III)
4. This Is The Law Of The Plague (Leviticus, Ch. 15 Old Testament, Psalms 22, 58, 59)
5. I Wake Up And I See The Face Of The Devil (I)
6. I Wake Up And I See The Face Of The Devil (II)
7. Confessional (Give Me Sodomy or Give Me Death)
8. How Shall Our Judgement Be Carried Out Upon The Wicked (Excerpts From Revelations 19:11-14 and Revelations 16:12-16)
9. Let Us Praise The Masters Of Slow Death
10. Consecration
11. Sono L'Antichristo
12. Cris D'Aveugle: Blind Man's Cry
13. Let My People Go
14. There Are No More Tickets To The Funeral

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в архиве 14 треков, как-то иначе обозваны

остальные альбомы на рапиде, увы

[Doctor Robert]

а с Джоном Полом Джонсом нет совместного альбома?

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Сообщение от Doctor Robert

а с Джоном Полом Джонсом нет совместного альбома?

Есть. И вообще:еще несколько альбомов Диаманды залью позже.

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1994 The Sporting Life



Having explored sheer extremity throughout her fascinating range of solo efforts, Galás takes a turn to the slightly more accessible with her collaboration with Jones on The Sporting Life. Her vocal approach, however, is still something which will freak out the unfamiliar listener.

Keyboards are once again her other main instrument of choice, with both Hammond organ and piano used. Meanwhile, the Led Zeppelin bassist and arranger handles production as well as guitar and bass, while one Pete Thomas handles percussion. While it's inaccurate to say the results are Galás fronting Led Zeppelin, Thomas does put in some heavy pounding with a hint of John Bonham's massive stomp.

Hints of gently majestic arrangements here and there help draw a connection further. On the flip side, Thomas and Jones' rhythms often have a crisp urban funk touch at points, sounding more no wave than heavy metal; elsewhere it's jump blues ("You're Mine," an obsessive portrait of erotic desire) or smoky late-night ballads.

Galás' subject matter of love, sex, and romance makes audible inspiration: "Do You Take This Man?" isn't going to be played at any weddings any time soon — at least not unless elderly relatives don't mind lines like "we talked about the wild thing for 24 hours." There's one great ringer of a cover — the soul classic "Dark End of the Street," given a ragged but right run-through — while the sleeve photos of Jones and Galás striking poses in a car are amusing touches. (Ned Raggett)

Tracklist:
1. Skótoseme
2. Do You Take This Man
3. Dark End Of The Street
4. You're Mine
5. Tony
6. Devil's Rodeo
7. The Sporting Life
8. Baby's Insane
9. Last Man Down
10. Hex

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1996 Schrei X



He eats his skin with the two hands
First-born Death with both his hands
He is snatched from his bed,
And marched before the King of Terrors
Job XVIII 10:14

Shriek: As in rape, torture and other human experiment, the shriek of an animal which is repeatedly attacked within a contained space.

Schrei 27
Several short performances over the space of twenty-seven minutes alternating extreme high-energy vocal work with absolute silence. The performances are chapters of a confession which might have been induced through a chemical or mechanical manipulation of the brain. There is a high density of speech-sound over time which is often machine-like in its velocity. The work employs the atypical speech and vocal signal processing that Galás has been researching since 1979.

Schrei X
“This is not ambient music," admonishes a proclamation in the booklet accompanying this release. One wonders why Diamanda Galás or Mute thought this warning necessary, as Schrei X, presented here in both live and studio versions, is essentially a sequence of Beckettian monologues alternately shrieked, spoken, whispered, cried, or spat out. In fact, a mere perusal of the titles of the pieces would presumably ward off the innocent ambient fan. Schrei X is one of the sparest of Galás's albums and possibly loses some effect on disc, where the visual theatricality of her performance is lost. Still, her voice is as powerful, convincing, and just plain scary as ever. So if you liked the previous posts I'm sure you will want to add this dark offering to your collection.

Tracklist:
Schrei X Live:
1. Do Room
2. I— I Am— Dreams
3. M Dis I
4. O.P.M.
5. Abasement
6. Headbox
7. Cunt
8. Hepar
9. Coitum
10. Vein
11. M Dis II
12. Smell
13. Hee Shock Die

Schrei 27:
14. Do Room
15. I I
16. M Dis I
17. O.P.M.
18. Headbox
19. Cunt
20. Hepar
21. Vein
22. M Dis II
23. Smell
24. Hee Shock Die

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1989 The Divine Punishment & Saint of the Pit



These songs are inspired by both Biblical texts and poetry, and are sung in Diamanda's emotionally draining voice with an urgency unheard of in modern music. Most listeners will probably be genuinely scared by the music on this album - there is nothing remotely pop about it. Quiet synthesizers and pounding piano playing haunting minor keys provide the perfect platform for Galas's intense voice. This is actually two albums combined into one, and on top of that they are actually the first two parts of a trilogy. The first half, known as The Divine Punishment, is the scariest, mixing in bits of the Old Testament with Galas's own cryptic lyrics. The second half is less oriented towards Christian ideology, but is no less sonically experimental. Listeners brave enough to make it past the first few minutes might find themselves entranced by Galas's firm grasp of composing and her unending enthusiasm towards her own material. Another masterpiece by this unusual singer. Dark themes predominate and stabbing notes accompanied by strong lyrics penetrate your ears, and make them bleed. But they also make you ask for more screams. This album, along with the Litanies of Satan, and some others, truly take away my strength. Nothing more to be said than enjoy.

Tracklist:
1. Deliver Me From Mine Enemies
I. This Is the Law of the Plague
II. Deliver Me from Mine Enemies
III. We shall not accept your Quarentine
IV. Deliver Me
V. Yiati O Ozoe
VI. Psalm 22
2. Free Among the Dead
I. Psalm 88
II. Lamentations
III. Sono L'Antichristo
3. La Trezième Revient
4. Exeloume
5. L'Heautontimioroumenos
6. Artémis (1864)
7. Cris D'Aveugle

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1982 The Litanies of Satan



Diamanda Galás made her solo recording debut in 1982 with "The Litanies of Satan", a bloodcurdling blast of screaming, sighing, sneering, spitting sonority based on texts by the poet Charles Baudelaire. Recorded in a freezing cold basement studio in London after she had been awake for 24 hours, Litanies is a glossolalic galaxy further perverted by insane floods of reverb, spatial delay, complex signal processing and overdubbing.
Twenty-six years later, it remains quite terrifying in effect. So I leave you here this weird album, which I like very much. It is not common music, it is not melodious, still I think everyone should listen to different sounds once in a while. Extreme guttural voices and dark atmospheres; listen and let it wrap you into its dark, and scary abyss. Enjoy.

Tracklist:

1. The Litanies of Satan
2. Wild Women With Steak-Knives (The Homicidal Love Song For Solo Scream)

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вроде всё