Who makes you hornier?
 

Which of these alt-music goddesses makes you feel the horniest?

Lydia


Diamanda


Jarboe

Mmmm...I see. Deliberately pick a picture of Lydia that makes her look like Kate Bush's junky mother will you?

 

 

LYDIA of course.

I've voted Jarboe on the basis of those snake photos from the late 80's.

haha true , that first picture was noooo fair shot for lydia .
the other two....i dont recognize them . .. :S

Jarboe would be a close second

 

 

If i was ever to convert to heterosexuality,that would be because Diamanda declared her love for me.

Hello, alteredcourse. Welcome aboard. You seem a decent person - please go to the "Introduce Yourself" thread and enlighten us.

A brief intro to Jarboe for you:

Sang with Swans for most of their career, solo artist since they split, has recently worked with Neurosis and Larsen. Beautiful voice. Well worth investigating. A recommended release: Swans - Children of God / World of Skin, or, if you're feeling brave, Jarboe - A Mystery of Faith.

If you're lucky Pookie will tell you all about Lydia and Porkmarras will tell you about Diamanda.

Lydia: gorgeous (TINY!) angry lady.

How many times must I say it!!!?
Lydia is the DIVA!!!
The other two cows would be eaten for Lunch.
They can't beat Lydia's persona.

Lydia Lunch is no match for Diamanda's personality by any stretch of the imagination.As much as i love Lydia,there's no contest there.

And Jarboe is way too much of a minor figure to even enter the competition.

Noone is more orally fixated than Lydia.
Explain?

Lydia Lunch is nowhere near a sophisticated,cultured and strong lady as Diamanda Galas.Browse through the two's work and that's the only explanation you need,matey.

Would you be willing to say that to her face?

Not if she gives that long a face.Also,Diamanda is the real alternative to Madonna for us underground gays.

"Honey, gods not a woman, he's a bitch".

Jarboe is a solo artist. Formerly she was a vocalist and keyboard player for Swans.

Jarboe's recorded and performed projects produce only her unique energy. She draws from a variety of charged sources, from her early exposure to snake-handling revivals in the Mississippi delta, parents who were in the FBI, her participation in a lounge act, experimental performance in gallery & live radio settings,her 14-year critically acclaimed recordings and collaboration with Swans doing worldwide concerts (clubs, theatres, festivals, live radio, TV). Her delivery can be at turns innocent, knowing, seductive, & vitriolic - contained in melodic as well as experimental compositions. In her extensive career as a performer and recording artist, Jarboe has proven herself to be one the world’s most explorative and skillful singers.

A primary objective for Jarboe is to close in on the gap in the audience/performer relationship via complete submission and vicarious experience through her performance. Through visceral vocals, her repertoire includes a variety of voices from the shy schoolgirl to seductress to demon. Jarboe's private agenda over the course of her life has been to fine tune endurance - physical, emotional, and spiritual. Through efforts in such disciplines as weight-lifting, kick boxing, mountainclimbing, running, role-playing, studies in meditation and Buddhism, and her intense work with Swans, she has journeyed her body towards exhaustion specifically with the intent of rebuilding / reinventing identity and exploring the structure of persona.

Jarboe's musical explorations have led to select comparisons to other female musicians with regard for their success in penetrating the otherwise male-dominated "rock" subculture. Her work in and outside of the legendary Swans has received international critical attention. Jarboe is featured in Andrea Juno's groundbreaking book: Angry Women In Rock, and Adele Olivia Gladwell's women's studies/cultural theory: Catamania.

The eclectic roster of Jarboe's musical collaborators includes: Michael Gira, Bill Laswell, Jim Thirlwell, Lustmord, PanSonic, Mark Spybey, Steven Severin, Chris Connelly, Alan Sparhawk, Neurosis (band), Edward Ka-Spel, William Faith, David J, David Torn, Paz Lenchantin, Bill Rieflin, Iva Davies, Blixa Bargeld, Kris Force, Nic Le Ban, Julia Kent, Brian Castillo, and Lary Seven. She has worked with visual artists in film / photography including Richard Kern, / Cedric Victor-DeSouza, Beth B, Laura Levine, and Wim Van De Hulst.

Considered a true independent of the 21st century and "internet pioneer" for music, Jarboe has been panelist on "Artists and the Internet" at the CMJ convention in NYC. Jarboe has released 12 solo albums in addition to working on 20+ Swans albums and 50+ collaborative projects with visual & sound artists all over the world. She has recorded in various countries, including Europe and the Middle East.

In addition to on-going live performances, Jarboe has recently recorded for the metal band, Cobalt, and the surreal band, Byla and soon starts recording for the U.K. band, Jesu and also Guapo, and F&TM's Monica Richards. Jarboe records her new band "The Sweet Meat Love And Holy Cult" summer 2006 with Nic Le Ban, Damon Young, Diana Obscura, Dorian Young, Paul Mercer, Chandler Rentz, Derek Bonner, Brian Castillo, Elizabeth Hummel and others.

http://en.wikipedia.org/wiki/Jarboe

 

DIAMANDA GALÁS LIVE


AUGUST 10 - NEW YORK CITY (US)
AUGUST 17 - NEW YORK CITY (US)
AUGUST 24 - NEW YORK CITY (US)
AUGUST 31 - NEW YORK CITY (US)
SEPTEMBER 11 - PARIS (FR)
OCTOBER 19 - SAN FRANCISCO (US)
OCTOBER 21 - SAN FRANCISCO (US)
OCTOBER 27 - LOS ANGELES (US)

Just look at that face.

Diamanda Galás
Defixiones, Will and Testament: Orders from the Dead

“She plays the piano like driving rain slapping on concrete, and she sings like a demon going to war, a valkyrie scatting, a lizard queen seeking revenge for the dead...Galas is profound, rigorous, vocally unlimited, terrifying and utterly compelling. To hear her is to have your soul scoured clean.”
-THE AGE AUSTRALIA 2001
Internationally acclaimed vocalist, pianist, composer and poet, Diamanda Galás is currently presenting her latest work "Defixiones, Will and Testament," for solo voice, piano, and tape. The performance is an angry meditation on genocide and the politically cooperative denial of it, in particular the Turkish and American denial of the Armenian, Assyrian, and Anatolian Greek genocides from 1914 to 1923.
The program "Defixiones, Will and Testament" features selections of work that address man's inhumanity to man, and is concerned with material written by those living in exile: "The Dance," a poem by Armenian poet Siamanto; "The Desert," by Syrian poet Adonis; "Epistle to the Transients," by Peruvian poet Cesar Vallejo; "Todesfuge," by Rumanian-Jewish poet Paul Celan; Greek and Armenian rembetika (a form of music brought by Asia Minor refugees from Smyrna down into Greece) and amanedhes (an Asia Minor style of improvisation), including "If I Die on the Boat," made famous by Sotiria Bellou and "Anoixe," by Papaiannou; "Hastayim Yasiyorum," by Udi Hrant; "Artémis," by Gérard Nerval; work by Assyrian poet-martyr Dr. Freidoun Bet-Oraham and the music of the deep South.
"Defixiones" refers to the warnings engraved in lead that were placed by relatives of the deceased on the graves of the dead in Greece and Asia Minor. These warnings cautioned against moving or desecrating the corpses under the threat of extreme harm. "Will and Testament" refers to the last wishes of the dead who have been taken to their graves under unnatural circumstances. Concerned with the poet/author living in exile, either from his homeland or within his homeland, "Defixiones, Will and Testament" speaks for individuals who have had to live as outlaws, and for those who have had to create houses out of rock.
One of the most startling artists of our time, Galás creates haunting gospels of despair, desolation and redemption that leave the audience shaken and transformed. For some, the things of which she sings are too much to bear; for Galás, it would be unbearable to remain silent about them.
Galás treats her piercingly beautiful multi-octave voice as an instrument whose sound defies description, penetrating like wind to the bone, resurrecting the dead in the living. She stands alone by virtue of her extraordinary technical accomplishment and her passionate commitment to the principle that the personal is the political. The themes she addresses are universal-a ferocious grieving of real and immediate loss-taking material from a wide variety of cultures and eras. The sorrow of which she sings addresses in chilling recollection, man's inhumanity to man, songs of life and death, redemption and damnation, of human pain and suffering which is experienced directly by the audience.
Raised in San Diego, Calif., Galás was born to Greek Orthodox parents, who always encouraged her gift for piano. Galás studied a wide range of musical forms, as well as visual-art performance, and then moved to to Europe where she made her performance debut at the Festival d'Avignon in France in 1979, performing the lead in the opera, "Un Jour Comme un Autre," by composer Vinko Globokar, based upon the Amnesty International documentation of the arrest and torture of a Turkish woman for alleged treason.
Releasing her first recorded work in 1982, Galás' numerous musical and theatrical works include the pivotal "Plague Mass" (1990), the haunting mass for People with Aids, “Vena Cava”(1992), the solo voice and electronic work concerning AIDS dementia and clinical depression, "Schrei 27" (1996), which deals with torture in isolation, and the concerts/recordings of "Malediction and Prayer," (1998), "Judgement Day," “Concert for the Damned,” and "The Masque of the Red Death" (1984 - 1988). Galás is currently working on the composition and commissioning of the opera "Nekropolis."
DEFIXIONES has been performed and developed since 1999, with the World Premiere, September 11, 1999, at the Castle Of Ghent, followed by workshop performances at The Kitchen in NYC, and official productions at The Barbican in London, The Athens Opera House, The Sydney Opera House, The Festival of Perth, The Cloisters of Sor Juana in Mexico City on The Day of the Saints, The Aula Magna in Lisbon, The Fano Festival of New Music, The Glasgow Center for the Arts, The Gogol Theatre in Moscow, The Dresden Festival of New Music, and UCLA Live at Royce hall in Los Angeles.
Galas has just been given a Civitella Ranieri Residency in Composition for 2003-2004.
"Defixiones, Will and Testament" and "La Serpenta Canta" are scheduled for a simultaneous release on November 24, 2003.
Defixiones, Will and Testament, also a double-album (99 minutes), begins with the large work THE DANCE which features "Ter Vogormia (from the Armenian Liturgy), The Dance (Siamanto), The Desert (Adonis, aka Ali Ahmad Said), Sevda Zinciri (Anonymous), and A Desperate Vitality (Pasolini). The album continues with THE EAGLE OF TKUMA (Bet-Oraham), ORDERS FROM THE DEAD (Galás), and a selection of "SONGS OF EXILE" featuring San Pethano (Anonymous), Hastayim Yasiyorum (Hrant), Je Rame (Michaux), Epistola A Los Transeuntes (Vallejo), Birds of Death (Galás), Anoixe (Papaioanou), Todesfugue (Celan), Artémis (Nerval), and See That My Grave Is Kept Clean (Traditional).
Following a performance of La Serpenta Canta, Alex Vartay wrote "The night's unequivolcal highlight was Galas' diabolically bleak version of Hank Williams' "I'm So Lonely, I Could Cry". With its stark visual poetry and coyote-howl tune, this is one of the world's great songs, especially when delivered at a death-march crawl and sung with spectral intensity. Judicious touches of digital delay turned Galas' voice into one long wail, in a performance that was so spooky I swear the temperature in the room dropped several degrees." (November 10/02, Georgia Strait, Vancouver)
Special thanks to Krista Fleischer
Photos by Austin Young
Lighting by Alison Brummer

What's there to see? She looks like Divine after going through some serious weight loss. :D

whatever,man.

Keep your shirt on pork. I was only kidding. ;)

Edit: Don't know much about her, really.
I know that she's from Greece or Cyprus?

ok then

back in the day lydia was hot to trot.

Diamanda is american from a greek othodox background.

Honestly? Lunch.

diamanda is a goddess

Ive only heard of Lunch.

Vocally: Jarboe
Physically, I am not exactly attracted to any of them.

when she was in teenage jesus, lydia was one booty shakin' ho.

for some reason i get the creeps everytime i hear diamanda galas.

mark prindle refers to jarboe as "jar jar binks". (nice to see she's recording with justin broadrick!)

afraid to say I'm not really attracted to any of them. Sorry :(

lydia lunch is/was a transcendental sexpot. she might not look that great these days (i dont know) but oh the horn in her voice & mind-- ayayay-- to me she has one of the most erotic minds since anais nin.

They're all ugly ass trolls.

Hey Daddy'slittlesecret,will you ring Diamanda for me?

Hey porky, don't you have a case of aids to catch?

Nope Daddy.Ring mummy.