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The Litanies Of Satan Maxi

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Price: £17.64 & FREE Delivery in the UK on orders over £20. Details
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£17.64 & FREE Delivery in the UK on orders over £20. Details Temporarily out of stock. Order now and we'll deliver when available. We'll e-mail you with an estimated delivery date as soon as we have more information. Your account will only be charged when we dispatch the item. Dispatched from and sold by Amazon. Gift-wrap available.

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Product details

  • Audio CD (9 Sept. 2013)
  • Number of Discs: 1
  • Format: Maxi
  • Label: Mute
  • ASIN: B000026ZJC
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 97,728 in Music (See Top 100 in Music)

Listen to Samples and Buy MP3s

Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
  1. The Litanies of Satan12:04£0.79  Buy MP3 
  2. Wild Women With Steak-Knives (The Homocidal Love Song for Solo Scream)17:50£0.79  Buy MP3 

Product Description

1 x CD Mini-Album, Reissue
UK 1989

1Wild Woman With Steak-Knives (The Homicidal Love Song For Solo Scream)12:04
2The Litanies Of Satan17:46

Customer Reviews

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Most Helpful Customer Reviews

3 of 3 people found the following review helpful By JJKelsall on 29 Oct. 2012
Format: Audio CD Verified Purchase
It is hard to say whether Diamanda Galas's first album is so transcendent of genre that it is hard to decide whether it is actually music or just noise. There is no real structure to the songs, scarcely any musical backing and the things she does with her voice isn't really something that leds itself to singing either. So if you are wanting this CD because you like melodic, accessible music then this certainly isn't for you. Even I have some bizzare musical tastes but I found this quite difficult to listen to all the way through and I'm not sure I'll listen it again any time soon.

Having said that, you cannot deny that Litanies of Satan is a great demonstration of what Galas can do with her voice and that is a lot. She screams, howls, cackles, shrieks, wails to operatic levels, gurgles, murmurs and talks all with ease and that in itself has to be admired. Also, I think that it does have a good atmosphere, but it is so intense that it is unbearable to stand even for the short running time of the album as a whole. This record is a work of art and really challenges the listener as well as the boundries of when noise becomes music and certainly it does it well. The record is uncompromising and demands you to listen to it and I am glad I did because it has changed my perspectives on music itself. So if you like to challenge yourself with music and see music really as art rather than something just to dance to, then it might be a good idea to purchase this record, but it is a hard challenge and when I played it to my cousin he got through only a minute before asking me to turn it off.
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8 of 10 people found the following review helpful By Dr. Delvis Memphistopheles TOP 500 REVIEWERVINE VOICE on 25 Jan. 2010
Format: Audio CD
In the 80's nuggets abounded.

Searching for them was always worth the effort. This record originally appeared on Y records. A friend of mine introduced me. Returning back to his squat in Essex he carefully placed it on the turntable and cranked it to number 10. The Rega Cerwin speakers then took the biggest pounding they were ever built for. Out of the smoke arose a plethora of high pitch screams, whispers and judderings. Instantly split between wanting it to end and waiting for the next deluge. It is the work of genius, but you have to be in a certain frame to listen. Harrowing, brutal, powerful and demented, it is the flow of inner voices, personalities split asunder, all trying to pour through the same door at the same time. The result is a regal cacophony, the effect akin to being punched in the face by harmonics.

Getting back to the squat, the room unleashed a sonic vibration rattling and smashing into the floorboards and ceiling. Creating an instantaneous effect the heavy metal lovers living beneath rushed upstairs with iron bars, unsure of what lay above, monster, madness or beast.

Careful ingestation helped to calm their shredded nerves, as we all sat back and rowed across to Hades. G Force Diamanda ripped into our rib cages with wave after wave of litanies. It was an exquisite torment as Diamanda takes you to places that you would never admit to existing.

Afterwards, when it finished we each felt like pioneers entering a brave new world. We sat comatose, a shared communal experience, never revealed, until today.
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12 of 16 people found the following review helpful By A Customer on 7 Sept. 2001
Format: Audio CD
Diamanda Galas was brought up in a Greek Orthodox houshold where she learnt to play the piano to an exceptionally high standard (singing was frowned upon). She broke away from her strict up-bringing to become a jazz pianist for a while before recording this piece of exotica. A truely terrifying recital of the Charles Boudilere's poem (he is French and I have probably misspelled his name) of the same name. This recording includes all sorts of unmimicable screeching and wailings characteristic of Diamand. This is not a record for the faint hearted or narrow minded.
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Most Helpful Customer Reviews on (beta) 10 reviews
25 of 26 people found the following review helpful
"I am not talking about steak...." 11 April 2001
By Eric McCalla - Published on
Format: Audio 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 of 10 people found the following review helpful
Majestic and Grotesque -- A Great Place to Start 26 Aug. 2000
By Michael - Published on
Format: Audio 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 of 3 people found the following review helpful
Not for everyone 4 Jan. 2008
By M H - Published on
Format: Audio 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 of 13 people found the following review helpful
The Litanies Of Satan ~ Diamanda Galas 24 Feb. 2002
By Thijs - Published on
Format: Audio 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 of 2 people found the following review helpful
Awesome; terrifying 11 May 2011
By Dr H - Published on
Format: Audio 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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