Search - Diamanda Galás :: Guilty Guilty Guilty

Ferocious & Melodic

Cliff Holt | Hartford, CT | 04/12/2008

(5 out of 5 stars)

"I've seen Galas a number of times and regardless of what you hear on record, it's necessary to experience her live. 'Guilty Guilty Guilty' is the first record (I feel) that brings you very close to that live experience. Malediction & La Serpenta both brought you close to that level but I feel Guilty truly has you arrive at that destination.



These songs are beautiful in a way I haven't heard from her before. The piano playing/arrangements are absolutely incredible this time. The Knitting Factory is a favorite of hers to play. It was the first time (2nd & 3rd) I saw her. So she's defeinitely at home to a very appreciative crowd here.



Interlude (Time) surprisingly finds Galas singing pretty straight out with no wailing or ornamentation. It's a first I've heard. The beautiful and touching piano arrangement adds so much to this song - and the whole record as well.



Highly recommended to the casual fan and the most dedicated."

Diamanda and a piano - more darkness and despair

Steward Willons | Illinois | 04/11/2008

(4 out of 5 stars)

""Guilty Guilty Guilty" finds Diamanda's voice alone with a piano performing to a live crowd at the Knitting Factory (and elsewhere, apparently). The result is similar to her previous "Malediction and Prayer." If you liked Malediction, you'll like Guilty. It's basically seven more covers turned very strange.



On the release of her 17th album, it's interesting to reflect on her voice and how it has changed over the years. The shrieks and screams are mostly replaced with growls, as her upper range is likely not what it used to be. While she's famous for her 3.5 octave vocal range and array of extended techniques, by 2008 she's become something a bit different. Even if she can't access her upper registers the way she did in the 80s, it doesn't really matter because her voice now has the maturity of age. In much the same way as Tom Waits' voice has become increasingly gravelly over the years, Diamanda's has aged into a quasi contralto with a distinctive gritty quality. She still breaks into her feats of vocal gymnastics periodically, and to great effect. And, she still has one of the most distinctive vocal styles.



This is a minor album in her discography, but one that I think many will enjoy. The songs are much more accessible than some of her long works such as "Vena Cava" or "Plague Mass." It flies by in a little less than 40 minutes. I'm giving the album four stars on a general scale. If I were to restrict my evaluation to Diamanda's music only, I'd probably rate it 3.5 stars, only because she has so many amazing albums, many of which are more ambitious in scope. That doesn't mean it's not worth buying though. While I favor "Malediction and Prayer" over "Guilty Guilty Guilty", this certainly deserves a place on every collector's shelf."

Galas does it again

Chad Chavers | San Diego, CA USA | 04/08/2008

(5 out of 5 stars)

"Diamanda Galas is a very important musician to me. When my friend Dan introduced me to her music in New Orleans my first response was fear then laughter. I admit it takes some time to get used to Galas's style, but it has been a very rewarding journey. This new album is great. She sticks to the same style of hyper expression, vocal terror. Some of the songs show a tamer side of hers then explode once again with the famous "o death" Her usual growls and snarls are noticeable to any fan. If you like Galas I would recommend this album. If you are new to Diamanda's work I would suggest her album "The Singer" first as it is by far the most thrilling amazing compilation and "Vena Cava" is a close second."