LINGUA IGNOTA

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
 
 
 

US STORE // EU STORE

CALIGULA
(2019)



ALL BITCHES DIE
(2018)

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.

Blissful Anguish: A Conversation with Lingua Ignota // Heaviest of Art 

(via Heaviest of Art)

Beneath the glitter and gold of LINGUA IGNOTA's Caligula lies a fragmented being torn asunder by the demons of man himself. Though this defies the perception one may get from initial observation of the album cover, it is a representation of the front many put up to conceal the pain and suffering underneath. The album's ability to resonate with many across the globe is an indication of where and who we are in contemporary society, highlighting the critical issues happening amongst us. Caligula may not tell you what you want to hear, but it'll tell you what you need to hear. 

The third full-length by multi-instrumentalist Kristin Hayter's LINGUA IGNOTA moniker is the musical embodiment of revenge. Harrowing screams, eloquent soprano, and elements of noise, black metal, and industrial music intersect to deliver an array of tastes perfectly complementing the vengeful lyrical themes beneath. 

Heaviest of Art had the privilege of engaging in conversation with Kristin Hayter, who dives deeper into the standout Caligula:

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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. 

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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. 

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