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The Litanies Of Satan


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Détails sur le produit

  • CD (4 février 2013)
  • Nombre de disques: 1
  • Label: Mute Records
  • ASIN : B000026ZJC
  • Autres éditions : CD  |  Album vinyle  |  Téléchargement MP3
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Disque : 1

  1. Disque 1 piste 1 - Diamanda Galas

Descriptions du produit

THE LITANIES OF SATAN


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Amazon.com: HASH(0x983e2bf4) étoiles sur 5 11 commentaires
25 internautes sur 26 ont trouvé ce commentaire utile 
HASH(0x983f07f8) étoiles sur 5 "I am not talking about steak...." 11 avril 2001
Par Eric McCalla - Publié sur Amazon.com
Format: CD
If you are not familiar with Diamanda Galas' extraordinary vocal capabiities, this is the disc to introduce you to them. These 2 recordings, LITANIES OF SATAN and WILD WOMEN WITH STEAK KNIVES, were recorded in the early 80s in London. The background story behind the production of WWWSK is particularly interesting. Seek out a copy of Forced Exposure magazine from 1989. Diamanda's interview will give you so much insight into her creative processes. She talks about literally being awake for more than 24 hours, fueled by caffeine among other things, and laboring through the recording process for WWWSK with producer Dave Hunt in a freezing London basement. Sound boards crashing, microphones blowing out, and numerous re-takes are all in a normal day's "work" for Miss Galas. Best of all her sense of humor really comes through in her interviews.
WWWSK is an aural "exploration" for lack of a better word, of a woman in the throes of schizophrenia. Mixing glossolalia, reverb, spatial delay, signal processing, and multi-tracking, Galas brings out the many complex layers of this woman's psyche. There is much terror and humor in her "words", sometimes the two emotions colliding in the same sound-space. You will understand what I mean only upon hearing it numerous times. Each listening brings a new experience to the listener.
What is so amazing to me is that I have been playing this for more than 11 years, and it still sounds and is BEYOND the avant-garde in music. To call her art "music" is in many ways a disservice. What Galas does is so much more. Her compositions take the listener into places of the human experience most of us will never know. It is her unique ability to communicate psychological, emotional and psychical states of consciousness with such force and clarity that keeps her from being merely 'categorized' for the comfort of art and music critics alike.
She will continue to drag the art, music and social critics kicking and screaming into the future that is her particular style of Expressionism.
"O, Satan, prends pitie de ma longue misere..."
9 internautes sur 10 ont trouvé ce commentaire utile 
HASH(0x983f0c00) étoiles sur 5 Majestic and Grotesque -- A Great Place to Start 26 août 2000
Par Michael - Publié sur Amazon.com
Format: CD
This early work by Galas features two pieces, the magisterial "Litanies of Satan" that uses a text by Baudelaire for lyrics, and the hysterical (in both senses of the word) "Wild Women with Steak-Knives", aptly subtitled "The Homicidal Love-Song for Solo Scream". The two pieces taken together are an excellent example of Galas' vocal and compositional ability, though they do not showcase the piano-voice or rock-oriented compositions of some of her other work. "Litanies" is literally a tour of the Inferno, with all of the grandeur of Dante's national epic; "Wild Women" is nothing but bare, amplified voice in an empty room, howling -- disjointed, fragmented, schizophrenic and an incredibly impressive display of what Galas can do with her voice.
3 internautes sur 3 ont trouvé ce commentaire utile 
HASH(0x983f0c78) étoiles sur 5 Not for everyone 4 janvier 2008
Par M H - Publié sur Amazon.com
Format: CD
I am a weirdo and I just love this CD. I wouldn't exactly recommend this as the best first choice for a new listener of Diamanda Galas (Masque of Red Death is the best for beginners) Like many of her albums, it contains minimal or no actual "singing", just insane chanting, the screaming of a person who is possessed by demons, and spooky sound effects. But I love this CD, it is hilarious. It doesn't scare me, (it would have if I was younger though) but nothing has scared me for a long time, I'm far too jaded, but it scares my parents very nicely, it would surely be nice as the background music to a haunted house, to creep your buddies out at parties, or to keep the Jehovah's Witnesses from coming to your door.
10 internautes sur 13 ont trouvé ce commentaire utile 
HASH(0x984c0024) étoiles sur 5 The Litanies Of Satan ~ Diamanda Galas 24 février 2002
Par Thijs - Publié sur Amazon.com
Format: CD
Well, this is the weirdest record I own! Diamanda Galas has a voice that cannot be described. On this album there are two pieces, Wild Women With Steak-Knives and The Litanies of Satan. WWWSk features Galas screaming over and over like a madman. Her voices carries higher then I have ever heard! The Litanies Of Satan is a version of a poem by a French autor. This is a really creepy album, but if you like challenging art/music, this is the album for you!
2 internautes sur 2 ont trouvé ce commentaire utile 
HASH(0x984c015c) étoiles sur 5 Awesome; terrifying 11 mai 2011
Par Dr H - Publié sur Amazon.com
Format: CD
Being able to say that I "love" this album is the result of nearly two decades of processing. The "Litanies of Satan" was my first exposure to Diamanda Galas, when a friend of mine played the album in an "Experimental Music" class he designed, at the university music school we both attended. As an avant-garde and experimental composer myself, as well as a performer of everything from jazz to punk to performance art, I had had a pretty broad experience of the weird, and thought myself pretty jaded at the time.

None of it prepared me for Diamanda Galas.

This was the first album I had heard -- possibly ever -- that made me actually uncomfortable to just sit and listen to it. It is one of a very few that still send chills down my spine to this day.

Ms. Galas is a musician, yes, but what happens on this album is far more than mere music. Performance art, prehaps, but couched as an aural assault of raw emotion of a kind that sane, well-adjusted people rarely if ever give vent to, and certainly never in public. Galas' vocal talents and understanding of the technicalities of amplification and recording are formidable. A classically trained and disciplined vocalist, she has also mastered a huge range of contemporary vocal techniques, from reinforced-harmonics and vocal "multiphonics" to yodeling and rap-style patter. At times it is difficult to believe that all the sounds you are hearing are being made by a single person, it real time, using only her voice (there is some taped backing on one of the two cuts, but it's kept pretty basic). Yet she has performed both of these pieces in front of live audiences.

All of which means that she has a supurb instrument to work with, through which to express the -extreme- emotional content of her pieces. She conveys with stark intensity a variety and range of feelings that most people, even those of us who may have touched on some of them, prefer to keep tightly bottled up inside. How she can open herself up in performance to this extent without slipping over that fine line into actual insanity is a mystery to me. Maybe she does slip over in concert, although in interviews she seems stable and normal enough...

On first hearing the second cut on the original vinyl recording, "Wild Women With Steak Knives", I remember thinking 'Holy $#|+! If her -recorded- work is this disturbing, her live performances must be overwhelming!

They are.

You may not like what you hear on this album, but I seriously doubt anyone can listen to it all the way through and remain unmoved by it: some of the passages would make a zombie shiver. But even if you ultimately end up using this disk for target practice, you owe it to yourself to experience at least one time this extraordinarily skillful, soulful, and creative artist.

And if you -do- get hooked, as I was hooked, you will be fascinated to discover, on her other albums, that Diamanda Galas can also sing the blues . . . which, once again, she does in a manner not /quite/ like anyone else. ;-)
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