Management - Sargent House
Manager: Cathy Pellow
Day to Day: Brittany Baker

N. American Booking  - Riverwood Booking
Agent - Adam Pfleider

European Booking - Swamp Booking
Agent: Ricky

North American Press 
Publicist: Stephanie Marlow

European Press - Rarely Unable
Publicist: Lauren Barley




CALIGULA”, the new album from LINGUA IGNOTA set for release on July 19th on CD/2xLP/Digital through Profound Lore Records, takes the vision of Kristin Hayter’s vessel to a new level of grandeur, her purging and vengeful audial vision going beyond anything preceding it and reaching a new unparalleled sonic plane within her oeuvre.

Succeeding her “All Bitches Die” EP, “CALIGULA” sees Hayter design her most ambitious work to date, displaying the full force of her talent as a vocalist, composer, and storyteller. Vast in scope and multivalent in its influences, with delivery nothing short of demonic, “CALIGULA” is an outsider’s opera; magnificent, hideous, and raw. Eschewing and disavowing genre altogether, Hayter builds her own world. Here she fully embodies the moniker Lingua Ignota, from the German mystic Hildegard of Bingen, meaning “unknown language” — this music has no home, any precedent or comparison could only be uneasily given, and there is nothing else like it in our contemporary realm.

LINGUA IGNOTA has always taken a radical, unflinching approach to themes of violence and vengeance, and “CALIGULA” builds on the transformation of the survivor at the core of this narrative. “CALIGULA” embraces the darkness that closes in, sharpens itself with the cruelty it has been subjected to, betrays as it has been betrayed. It is wrath unleashed, scathing, a caustic blood-letting: “Let them hate me so long as they fear me,” Hayter snarls in a voice that ricochets from chilling raw power to agonizing vulnerability. Whilst “CALIGULA” is unapologetically personal and critically self-aware, there are broader themes explored; the decadence, corruption, depravity and senseless violence of emperor Caligula is well documented and yet still permeates today. Brimming with references and sly jabs, Hayter’s sardonic commentary on abuse of power and invalidation is deftly woven. 
Working closely with Seth Manchester at Machines With Magnets studio in Pawtucket, Rhode Island, Hayter strips away much of the industrial and electronic elements of her previous work, approaching instead the corporeal intensity and intimate menace of her notorious live performances, achieved with unconventional recording techniques and sound sources, as well as a full arsenal of live instrumentation and collaborators including harsh noise master Sam McKinlay (THE RITA), visceral drummer Lee Buford (The Body) and frenetic percussionist Ted Byrnes (Cackle Car, Wood & Metal), with guest vocals from Dylan Walker (Full of Hell), Mike Berdan (Uniform), and Noraa Kaplan (Visibilities). “CALIGULA” is a massive work, a multi-layered epic that gives voice and space to that which has been silenced and cut out.

Lingua Ignota 'CALIGULA' on The 25 Best Metal Albums of 2019 // Treble 

8. Lingua Ignota – Caligula 

Extreme metal is boundless, and yet it has limitations—a paradox that might be difficult to wrap one’s head around, much as my high school physics teacher’s similar statement about the shape of the known universe made my brain briefly malfunction. You can keep getting more and more extreme, but no matter how fast or loud the music is, the intensity has a ceiling. Which is why artists like Kristin Hayter, better known as Lingua Ignota, are all the more necessary in the realm of extreme music. Caligula isn’t in the strictest terms a metal album—it’s something more like industrial operatic darkwave, and the opening strings of “Faithful Servant Friend of Christ” are closer to Angel Olsen’s new album than Tomb Mold’s. But there is perhaps no listening experience more harrowing in 2019. A sprawling and ambitious depiction and examination of depravity, abuse and violence, Caligula contrasts its most wrenching extremes with beauty and grace, then pulls out the rug via fire-breathing screams and crunching moments of incendiary distortion. I’m not necessarily saying that an album of piano-driven avant garde dirges—if that even really gets at the heart of what Hayter accomplishes here—is the heaviest album of the year. But, well… 
Stream: Bandcamp

Full list via Treble



Read the full interview HERE

Lingua Ignota, making a Levitation appearance Friday at Empire, broke out in 2017 with All Bitches Die, a masterstroke of brutality and reprisal expounding on a justifiably vengeful concept: abusing your abuser. 

Lengthy movements entwine drone metal, power electronics, and classical music, while the LP includes tracks titled “Holy is the Name (of my ruthless axe)” and “Woe to All (on the day of my wrath”). You don’t need to speak English to feel the palpable rage emanating from composer/singer Kristin Hayter, an Ivy League-educated artist compelled to confront survivor violence as a voice-of-the-voiceless. She followed up her underground triumph in July with sophomore LP Caligula, issued by Canadian tastemakers Profound Lore. 

Hayter, whose intense performances typically find the San Diego native on the floor of a venue tangled in construction lights, spoke on the phone with the Chronicle in advance of her Austin Terror Fest performance in June, which ultimately cancelled. That discussion – touching on higher education, the concept of violence, and her roots in classical music and metal – remains potent six months later. 

Austin Chronicle: Have you had survivors reach out to you because they identify with All Bitches Die? 

Kristin Hayter: I have had that happen quite a bit and it means a lot. It’s very moving and touching for me. I’ve had a lot of people share their own stories or share how the music in some way helped them process what they’d been through. I can’t think of anything else I could accomplish with my music that would feel more fulfilling. 

AC: Did you see that coming? 

KH: I had no idea. When I put out All Bitches Die, I didn’t think anyone would hear it. It was really just meant for hanging out in the Providence scene, so it was totally unexpected that anyone cared. 

AC: You did graduate studies at Brown in Providence, Rhode Island, which is pretty prestigious. What were your experiences in academia? 

KH: Academia was an interesting place to be a woman, particularly one making music. I know a lot of women of color who find it extremely frustrating to try to work in that world. When I first went to art school for undergrad, it was a way for me to think about how to make things. The way that I learned to think about art [at School of the Art Institute of Chicago] is still a big part of my practice today. 

By the time I got to Brown, I think the work became too confrontational for academia and they didn’t like it very much. I actually wanted to get a Ph.D. and submitted some of the work that I did in graduate school and I didn’t get accepted anywhere. I heard the reason was it was too angry and confrontational. 

AC: Is that in regard to your thesis, Burn Everything Trust No One Kill Yourself? 

KH: Yeah. Parts of that and other work as well, but that was a main piece of the portfolio that went into applications for Ph.D.’s. So it didn’t go over very well, but that’s okay. I don’t know where I reside right now. It’s not academia and it’s not DIY anymore really, but it works okay right now. 

AC: In my mind, when something’s working, that means you have creative freedom. 

KH: I totally agree with that. At this point, I get to make things how I want to make them and I don’t have to worry if it sounds academic or not, or if it has a more cerebral angle, or if it’s not punk enough, or if it’s not heavy enough. Now, I’m doing my own thing with no structures or binding, so it feels good right now.


Full feature on CVLT Nation

Music that is real can be difficult. Personal experiences always mould the creative perspective of an artist, but what happens if those include moments of pure darkness? Many would shy away from exposing these events, but some find a cathartic release through re-telling these stories. There is not an artist that better encapsulates that state than Lingua Ignota, who spawned into the scene in 2017 with two self-released records in Let the Evils of His Own Lips Cover Him and All Bitches Die. Combining her neo-classical background with noise and death industrial elements and an overall darkwave approach Kristin Hayter has found the perfect medium for her message. This became abundantly clear earlier this year when CALIGULA dropped like a bomb, bringing to life moments of utter darkness through agonizing noise passages or ethereal devastation via Hayter’s fantastic delivery. Given the impact the experience of listening to CALIGULA, it would be interesting to see how Hayter is able to transfer that to the stage. And since she was passing by Manchester I was lucky enough to witness that.

Photos: Al Overdrive from Lingua Ignota’s London show