On dismantling systems and processing trauma through art // Creative Independent


(Interview via Creative Independent)

Musician Kristin Hayter, best known as Lingua Ignota, on how her music and live performances help her exorcize trauma, reframing genre tropes to create something entirely new, and what she got out of art school.

How would you describe your artistic philosophy? 

I think that my work is often about dismantling different systems and looking at the inner workings of different systems. I often take kind of disparate systems or different ways of coding or different kinds of language, and I’ll put them together and try to alchemize them into something new. This has been part of my practice for over a decade—taking different things, different disciplines, different languages, and trying to create something new and strange out of that. 

I think that the philosophy is based in juxtaposition and trying to create something new out of pre-existing modes. I guess it’s a postmodern way of looking at things, just kind of deconstructing previously existing things and then trying to make something new. 

Lingua Ignota's 'CALIGULA' Continues Her Powerful Wailings Against Misogyny // PopMatters

(via PopMatters)

On her 2018 debut All Bitches Die, Kristin Hayter, aka Lingua Ignota, introduced a truly abrasive blend of opera, neoclassical darkwave, and death industrial. From deep croons over thumping pianos to piercing screams over distorted noise-scapes, her first album covered the entire spectrum of dismality. Even more, this melodramatic hybrid was not a cheap aesthetic gimmick but rather a necessary vehicle. For, Hayter's lyrics deeply engages with the many enduring traumas that come from misogyny and domestic abuse. 

'CALIGULA' Album Review // Pitchfork

(via Pitchfork)

On her torrential second album, Kristin Hayter creates a murderous amalgam of opera, metal, and noise that uses her classical training like a Trojan Horse, burning misogyny to ash from its Judeo-Christian roots.

Eight minutes into her torrential second album as Lingua Ignota, Kristin Hayter lets out a thundering, apocalyptic scream: “I don’t eat, I don’t sleep [...] I let it consume me,” she cries. Her voice is so ugly and shredded and maniacal and alive that it creates a witness of anyone who hears it. It is the sound of trauma, that which is by definition intolerable, and Hayter traverses its most upsetting depths on behalf of survivors, including herself. With Caligula, she has created a murderous amalgam of opera, metal, and noise that uses her classical training like a Trojan Horse, burning misogyny to ash from its Judeo-Christian roots. 

CALIGULA, Album of the Week // Treble

(via Treble)

There’s no ignoring Kristin Hayter’s voice. She’s not so much a singer as an exorcist, her impassioned and intense, bordering on outright terrifying vocal presence can ably transform from an almost sacred beauty to abject terror in a single song. And hers, to be fair, tend to stretch more on the lengthier side—that Hayter’s compositions as Lingua Ignota take their time to resolve, to let the listener linger in the agony and fear for as long as they do, showcases just how difficult a thing it is that she does. She’s in large part a descendant of the primal scream opera of Diamanda Galás, with a closer connection to contemporary metal. But even when lending her voice to music such as the sludgy industrial grind of The Body or the manic powerviolence of Full of Hell, it’s her own contribution that leaves the most indelible impact. 

Deconstruction of Depravity: An interview with Lingua Ignota // Treble

(via Treble)

Kristin Hayter is one of the most fascinating voices in contemporary music today, but most probably wouldn’t recognize her by her real name. She performs and records under the name Lingua Ignota, which is from the German mystic Hildegard of Bingen, meaning “unknown language.” And her work is both fascinating and mind-boggling; from drone to industrial, to doom, classical, and even some gospel-like elements, Hayter explores and combines a vast range of styles into intriguing compositions. Her 2017 LP, All Bitches Die, is a remarkable record that subverts audience ideas towards harsh music genres, while also exploring themes of abuse and violence.