Acheter d'occasion
EUR 21,38
+ EUR 2,49 (livraison)
D'occasion: Très bon | Détails
Vendu par momox fr
État: D'occasion: Très bon
Commentaire: Bon marché et sécurisé. Articles d'occasion contrôlés.
Vous l'avez déjà ? Vendez sur Amazon

The Litanies Of Satan

5.0 étoiles sur 5 1 commentaire client

2 neufs à partir de EUR 96,89 4 d'occasion à partir de EUR 21,38
Promotions et bons plans musique CD Vinyle Promotions et bons plans musique CD Vinyle


Offres spéciales et liens associés



Détails sur le produit

  • CD (4 février 2013)
  • Nombre de disques: 1
  • Label: Mute Records
  • ASIN : B000026ZJC
  • Autres éditions : CD  |  Album vinyle  |  Téléchargement MP3
  • Moyenne des commentaires client : 5.0 étoiles sur 5 1 commentaire client
  • Classement des meilleures ventes d'Amazon: 142.966 en Musique (Voir les 100 premiers en Musique)
  •  Voulez-vous mettre à jour des informations sur le produit, faire un commentaire sur des images ou nous signaler un prix inférieur?

Liste des titres

Disque : 1

  1. Disque 1 piste 1 - Diamanda Galas

Descriptions du produit

THE LITANIES OF SATAN

Commentaires en ligne

5.0 étoiles sur 5
5 étoiles
1
4 étoiles
0
3 étoiles
0
2 étoiles
0
1 étoile
0
Voir le commentaire client
Partagez votre opinion avec les autres clients

Meilleurs commentaires des clients

Format: CD Achat vérifié
Une interprétation brutale, sans concession, folle et à chaque seconde inventive du célèbre poème de Ch. Baudelaire. Cette œuvre de l'Américaine a déjà plus de trente ans mais reste encore en avance sur la galaxie techno qu'elle a précédée, elle échappe à toute patine : qu'elle n'échappe pas à vos platines ! C'est un chef-d’œuvre qui se mérite.
Remarque sur ce commentaire Avez-vous trouvé ce commentaire utile ? Oui Non Commentaire en cours d'envoi...
Merci pour votre commentaire.
Désolé, nous n'avons pas réussi à enregistrer votre vote. Veuillez réessayer
Signaler un abus

Commentaires client les plus utiles sur Amazon.com (beta)

Amazon.com: 4.3 étoiles sur 5 11 commentaires
27 internautes sur 28 ont trouvé ce commentaire utile 
5.0 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..."
11 internautes sur 12 ont trouvé ce commentaire utile 
5.0 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.
2 internautes sur 2 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Pure terror. 24 février 2013
Par Renfield - Publié sur Amazon.com
Format: CD
Diamanda Galas is one of those artists you either love or hate, and both have their share of very good reasons. About 3 years ago, if you told me I'd enjoy her music, I'd have laughed right in your face. The idea of someone just screeching, yelling, howling, babbling nonsense into a mic and calling it music was very nonsensical to me at the time- and to an extent, still is. But now that I'm older and my tastes have sort of opened a bit, I've realized that just like art, music is subjective. Some people even call the birds calling in the morning music. Remember that John Cage piece, 4'33, that consists of a pianist just sitting at his piano doing... nothing, for 4 minutes and 33 seconds? This was made because Cage wanted the audience to observe the music around them- the accidental noises happening in the background in different locations. And so Galas, a Greek-American artist with a classically trained 3 octave vocal range, also trained in piano, invites you to challenge the very notion of "music" with her debut album, The Litanies of Satan.

The Litanies of Satan is one of the most unpleasant, frightening, disturbing listens one is bound to have in a while. It's mercifully short at 30 minutes, but every second of it feels long and torturous. Galas screams, howls, shrieks, moans, cackles, and shouts her way through thirty unsettling minutes of pure a Capella terror. She recounts the recording experience as being in a London basement, awake for more than 24 hours, very sick, only being kept awake by caffiene and the temperature was freezing cold. Among the many things that happened- sound boards crashed, microphones and speakers blowing out. Then again though, those kinds of things are "normal parts of every day work" for her (then again that's just her sense of humour shining through). What Litanes really is, is two pieces of music- both of which involve heavy useage of her voice as the main, and only, instrument featured on the whole instrument.

The first piece is the title track, which is the 17 most frightening minutes of audio ever recorded. Beginning with a series of hisses that fades in, the piece then moves into a recitation of Les Litanies de Satan by legendary poet Charles Baudelaire, originally published in Fleurs Du Mal. The poem is recited in the original French language, with a host of different effects peppered throughout the track. There's moments where a distorted repeat of her voice "recites" along with her near the beginning, and from there on lots of audio effects provide the "music" of the song, making one extremely intense and difficult track to listen to. Her screams and shrieks and echos get looped throughout, at times providing the "background music". At one point in the track, her voice becomes so distorted, it sounds as if 7 Diamandas are talking at once, to a horrifyingly sinister effect. It is one seriously intense track that is not to be listened to past midnight.

The next, "Wild Women with Steak Knives", is shorter and has no effects applied to it, but with a vocal performance this psychotic, who would need them. It runs 12 minutes long and is more of an aural assault. It's also a tad bit lighter in tone than the preceding track, and it a tad comical. The songs subject seems to be a woman with intense schizophrenia, and the "lyrics" are mostly babble and gibberish, but when they're in English, they're mostly nonsense ("I'm not talking about meatballs! I'm talking about... STEAK! STEAKSTEAKSTEAKSTEASKSTKSTSTKSTKSTSTSTSTSTSTSTS!!!."). Seriously, at one point she gets so carried away in the vocal work that you wonder if she's going to explode. It isn't as good as the preceding track, but it's twisted and frightening fun.

]Litanies is far from Galas' best work, however it is a great starting point, unlike most debut albums. Is it the most pleasant work out there? Absolutely not. Pleasant, it's anything but. But if you can force yourself to listen to it, it's an absolutely rewarding experienced, and will will challenge the way you define music, as stated above. Diamanda has plenty I've other voice-centric works, the best of which being Vena Cava, but before getting into that, try one of her earlier works, like The Divine Punishment and this album. While not happy music, and certainly not for everyone, Litanies is proof that music doesn't always need melodies- but rather the voices of the damned, tortured, and suffering.
3 internautes sur 3 ont trouvé ce commentaire utile 
5.0 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. ;-)
3 internautes sur 3 ont trouvé ce commentaire utile 
5.0 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.
Ces commentaires ont-ils été utiles ? Dites-le-nous


Discussions entre clients



Commentaires

Souhaitez-vous compléter ou améliorer les informations sur ce produit ? Ou faire modifier les images?