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Rating: The voice-piano combination is certainly a distinctly "self-referential" form for a musician with a minimal career: it highlights the interpreter's strengths but also shows their limitations in black and white. Galàs has been presenting herself in this manner for 15 years (with brief interruptions known to the general public), yet even today she moves and impacts deeply, albeit always within the "usual" range to which we have become accustomed.
Recorded live as always, Diamanda delights us with her turbulent jazzy improvisations and absolutely unpredictable vocal lines, although we are far from the daring feats of "Malediction & Prayer" (1998) and the dark theatricality of "The Singer" (1992). Certainly, the choice of tracks (all covers, practically unrecognizable from the originals) does justice to the Lady's previous album ("La Serpenta Canta", 2003), a recital that resembled more a hastily assembled greatest hits than a standalone concept.
Love, sex, life, and death: these would be the main themes in summary. What is new in this avant-garde singer (is she still?)
Galàs pretends to make simple "homicidal love songs", but when she sings
"Shall I wait by the grave
For my lost lover's kiss?
Stop the bell! Stop the bell!!
I've no tears left to cry
Must I stay here in hell?
Lord above, let me die...
Heaven have mercy!"
how can we dismiss it so easily in an instant, and say -it's just love-?
Tracklist and Videos
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