Galás is known for being a fiercely confrontational avant-garde performer and is noted for her wailing, four-octave vocal range. Galás was the daughter of Greek Orthodox parents and her singing was roundly discouraged, although her prowess as a classical pianist was nurtured; ultimately, her strict upbringing resulted in a reckless, drug-fueled youth prior to her entrance into the University of California's music and visual arts program. Galás made her performing debut in 1979 at France's Festival d'Avignon, which led to an invitation to assume the lead role in composer Vinko Globokar's politically charged opera Un Jour Comme un Autre. In subsequent solo performance art pieces like Wild Women with Steak Knives and Tragouthia Apo to Aima Exon Fonos, Galás further honed her unique, shattering vocal style, inspired by the Schrei ("shriek") opera of German expressionism (a form employing a system of four microphones and a series of echoes and delays).
She worked with many avant-garde composers including Phillip Glass, Terry Riley, John Zorn, Iannis Xenakis and Vinko Globokar. She made her performance debut at the Festival d'Avignon in France as the lead in Globokar's opera, Un Jour Comme Une Autre which deals with the death by torture of a Turkish woman. The work was sponsored by Amnesty International. She also contributed her voice to Francis Ford Coppola's film Dracula (1992) and appeared on the film's soundtrack.
Her work first garnered widespread attention with the controversial 1991 live recording of the album "Plague Mass" in the Cathedral of Saint John the Divine in New York. With it, Galás attacked the Catholic Church for its indifference to AIDS using biblical texts. In the words of Terrorizor Magazine, "The church was made to burn with sound, not fire." Plague Mass was a live rendition of excerpts from her same-titled trilogy which began as a response/homage/indictment to the multitudinous effects of AIDS upon the silent class - of which her brother was a member. During the period of these recordings, Galás had "We are all HIV+" tattooed upon her knuckles; an artistic expression of disillusionment and disgust with the ignorance and apathy surrounding the AIDS epidemic. Her brother, who died during the trilogy's final production, reportedly appreciated her efforts.
Susan McClary (1991) writes that Galás, "heralds a new moment in the history of musical representation," after describing her thus: "Galás emerged within the post-modern performance art scene in the seventies...protesting...the treatment of victims of the junta, attitudes towards victims of AIDS...Her pieces are constructed from the ululation of traditional Mediterranean keening...whispers, shrieks, and moans."
In 1994, Galás collaborated with Led Zeppelin bass guitarist John Paul Jones. The resultant record, "The Sporting Life", while containing much of Galás's trademark vocal gymnastics, is probably the closest she has ever come to rock music.
Galás also performs as a blues artist interpreting a wide range of songs into her unique piano and vocal styles. This aspect of her work is perhaps best represented by her 1992 album, "The Singer" where she covered the likes of Willie Dixon, Roy Acuff, and Screamin' Jay Hawkins while accompaning herself on piano. For that album, she also recorded several traditional songs as well as the rarely heard Desmond Carter-penned version of Gloomy Sunday. Many of her selections both within and outside of blues repertoire have sometimes been categorized as 'homicidal love songs'. She also focuses on the death penalty. One program of songs, "Frenzy", has been dedicated to Aileen Wuornos and features the work of Phil Ochs and Hank Williams Sr.
Her latest song cycle is an interpretation of songs by Edith Piaf and Marlene Dietrich.
Official Myspace: http://www.myspace.com/songsofexile
Free Among the Dead
Diamanda Galás Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Sono la salva, I am the salvation, Soy la salvacion,
Sono la carne maccllata, I am the butcher's meat, Soy la carne magullada,
Sono la sanzione, I am the sanction, Soy la sancion,
Sono il sacrificio, I am the sacrifice, Soy el sacrificio,
Sono il Rango Nero, I am the Black Spider, Soy la araña negra,
Sono la Santa Sede, I am the Holy Fool, Soy la tonta sagrada,
Sono lè feci dal Signore, I am the shit of God, Soy la mierda de Dios,
Sono lo segno, I am the sign, Soy la seña,
Sono la pestilenza, I am the plague, Soy la plaga,
Sono l'Antichristo. I am the Antichrist. Soy l'Antichristo
The lyrics of Diamanda Galás's song Free Among the Dead are characterized by a powerful, almost visceral language. The verses recite a list of phrases that describe the condition of being oppressed, victimized, or marginalized, focusing on the concept of sacrifice, the acceptance of pain, and the search for redemption. The repetition of the words "Sono" and "Soy" ("I am" in Italian and Spanish respectively) emphasize the identity and the agency of the subject, that refuses to be silenced or ignored.
The first three verses describe the subject's relationship with violence and death, embodying both the victim and the perpetrator, the offering and the salvation. The phrase "Sono la carne macellata" ("I am the butcher's meat") evokes a sense of physical pain and exploitation, while "Sono la sanzione" ("I am the sanction") suggests a form of punishment that is willingly accepted. The association of the subject with the Black Spider is particularly interesting, as in many cultures spiders are regarded as symbols of antagonism and trickery.
The second three verses describe the subject's relationship with religion and morality, playing with the paradoxical idea of the "Holy Fool" and the "shit of God". The reference to the Holy See ("Santa Sede") points at the corrupt and manipulative aspects of the Church, while the use of scatological language is a challenge to conventional piety. The final verse, "Sono l'Antichristo", completes the reversal of values and affirms the subject's rebellion against dogma and authority.
Overall, the lyrics of Free Among the Dead are a manifesto of resistance and transgression, denouncing social and political oppression, and embracing the power of the individual to subvert and overcome it.
Line by Line Meaning
Sono la prova, I am the token, Soy la muestra,
I am the evidence or symbol that represents something, just like a token. Soy el elemento que representa algo, como una muestra.
Sono la salva, I am the salvation, Soy la salvacion,
I am the savior or rescue that can free someone from harm. Soy el salvador o rescate que puede liberar a alguien del peligro.
Sono la carne maccllata, I am the butcher's meat, Soy la carne magullada,
I am the victim of someone or something that has been brutalized or abused, just like meat that has been butchered. Soy la víctima de alguien o algo que ha sido brutalizado o abusado, como la carne que ha sido desollada.
Sono la sanzione, I am the sanction, Soy la sancion,
I am the punishment given for a violation or offense, just like a sanction. Soy el castigo impartido por una violación o ofensa, como una sanción.
Sono il sacrificio, I am the sacrifice, Soy el sacrificio,
I am the offering or tribute made to achieve a greater good, just like a sacrifice. Soy la ofrenda o tributo hecho para lograr un bien mayor, como un sacrificio.
Sono il Rango Nero, I am the Black Spider, Soy la araña negra,
I am the source of fear, danger, and death, just like a black spider. Soy la fuente de miedo, peligro y muerte, como una araña negra.
Sono il scherno, I am the scourge, Soy el azote,
I am the affliction or punishment that brings suffering, just like a scourge. Soy la aflicción o castigo que trae sufrimiento, como un azote.
Sono la Santa Sede, I am the Holy Fool, Soy la tonta sagrada,
I am the embodiment of both wisdom and foolishness, just like a holy fool. Soy la encarnación tanto de sabiduría como de tontería, como una tonta sagrada.
Sono lè feci dal Signore, I am the shit of God, Soy la mierda de Dios,
I am the embodiment of something that is detestable and vile, even if it is something that comes from a higher power. Soy la encarnación de algo detestable y vil, incluso si viene de un poder superior, como la mierda de Dios.
Sono lo segno, I am the sign, Soy la seña,
I am the indication or mark that points to a certain truth or message, just like a sign. Soy la indicación o marca que señala una verdad o mensaje determinado, como una seña.
Sono la pestilenza, I am the plague, Soy la plaga,
I am the contagious and infectious disease that can cause death and destruction, just like a plague. Soy la enfermedad contagiosa e infecciosa que puede causar la muerte y la destrucción, como una plaga.
Sono l'Antichristo. I am the Antichrist. Soy l'Antichristo
I am the embodiment of chaos, rebellion, and opposition to the accepted order, just like the Antichrist. Soy la encarnación del caos, la rebelión y la oposición al orden establecido, como el Anticristo.
Contributed by Sophia I. Suggest a correction in the comments below.
Diego Rojas Sebastian
Beautiful in its rawness, Galas is a treasure. Tremendous piece making one half of a truly amazing album
musicminded64
I love "G*D" and in all the beautiful names infinite, sincerely, and Diamanda Galas i find a greatest genius artist, what a powerful voice and composition and performance all in all, truly timeless and no pretense. (Though perhaps a lot of people misunderstand or fear her work, alas?) Thanks for the wonderful sound quality of this piece. When i was hearing it, woah: i feel myself in complete peace. Wishing you and everyone peace inside also and thanks very much for this upload.
Diego Rojas Sebastian
Yes, this brings peace to me also. Something to ponder, perhaps
lucatme
It's a mystery to me, why this specific track is missing from Spotify. I like to think it was deemed too cursed for the general public to access freely.
Alex Brewis
Brilliance. Grateful.
undrentide1972
This should have been the soundtrack to the exorcist!
merry neves
This is what I play when my neighbors are pissing me off.
Marcos Jose Jose
Me too 😎😎 better than Eminem and Marilyn Manson
Morgawse Arth
@musicminded64 You're welcome :)