LINGUA IGNOTA

Management - Sargent House
Manager: Cathy Pellow

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”, 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.

"Butcher of the World" 6 Best New Songs Out Right Now // Revolver 


Lingua Ignota - "Butcher of the World" 
It's hard to categorize exactly what Lingua Ignota, a.k.a. Kristin Hayter, does in her music. But one thing's for sure: it's always a wild ride. On her latest single, "Butcher of the World," Hayter marries completely disparate sounds, styles and musical elements into one strikingly weird new form. It opens with a film score kind of overture with her voice shrieking some incredibly harsh lines as a counterpoint. As the song progresses, she introduces operatic vocals to the mix, which take this extremely unsettling — and utterly transfixing — track to a whole new level. It's a total experience.

 

read the full article via Revolver here

Lingua Ignota Shares ‘Butcher of the World’ + Announces New LP  

via The Quietus

LINGUA IGNOTA has announced a new album, CALIGULA, to be released by Profound Lore on July 19. You can listen to the lead track 'BUTCHER OF THE WORLD' here

Kristin Hayter follows up two self-released albums from 2017 (Let The Evil Of His Own Lips Cover Him and All Bitches Die) with another foray into her own sound composed from noise, black metal, modern composition and opera (although with less of an industrial influence than early work). It's a dizzying and pulverising assault that bears some of the same hallmarks as such tQ favourites as Gnaw Their Tongues and The Body.

The album features more live instrumentation from a band of collaborators that includes Sam McKinlay (THE RITA), drummer Lee Buford (The Body) and percussionist Ted Byrnes (Cackle Car, Wood & Metal), with guest vocals from Dylan Walker (Full of Hell), Mike Berdan (Uniform), and Noraa Kaplan (Visibilities).

CALIGULA can be pre-ordered here. 
US: hellomerch.com/collections/lingua-ignota 
EU: https://evilgreed.net/collections/lingua-ignota 
or Label: https://profoundlorerecords.com/linguaignota/

15 Noise and Experimental Artists You Should Know // FLOOD Magazine 

full article via FLOOD mag here

Kristin Hayter is having a moment. Almost two years after the release of her second album as Lingua Ignota, the mighty All Bitches Die, the momentum only seems to be rising. In the past year, the Providence-based artist has been on tour with The Soft Moon, The Body, and fellow Rhode Islanders Daughters, and contributed vocals to Full of Hell’s new record, Weeping Choir, to name just a few things. 

And honestly, thank god. Hayter is a true force. She’s into power electronics, death industrial, and black metal, and mixes in baroque classical, liturgical references, and folk music for a seriously harrowing, overwhelming effect. She sings about power and abuse and shame and burning it all down, and calls her stunning songs “survivor anthems,” which they surely are. Her MFA thesis was titled “BURN EVERYTHING TRUST NO ONE KILL YOURSELF,” and she has described her intense live performance as “an exorcism.” 

The opener of All Bitches Die, “Woe to All (On the Day of My Wrath),” is a fifteen-minute masterpiece that will get you hooked on Ignota. Hayter spends the first five minutes screaming, before her gorgeous singing voice sets in and she starts pleading to a master, “Don’t drag me to a sea of flame.” Then, in a subtle and exquisite flip, she is the master. “The teeth of seven thousand men / Adorn my silver crown,” she sings, her voice aflame. “Woe to all who inhabit the earth,” she repeats later, as it all comes crashing down around her, chimes amok, beat stomping. “For now I walk among you.”

Live Review at Roadburn Festival 2019 // Rock Freaks 

Lingua Ignota @ 18:45 in Green Room // ROADBURN FESTIVAL 2019

Having had the pleasure of witnessing Lingua Ignota perform a week earlier at Royal Metal Fest, that show was simply so intriguing that I had to go see her special solo performance once more here at Roadburn Festival, a festival where her eclectic avant-garde music is, expectedly, more at home than at Royal Metal Fest, drawing a gigantic crowd at the Green Room stage even before Molasses next door at the Main Stage have finished their set. Lingua Ignota seems to value the intimacy of her performances very highly as she has once again not placed herself on the actual stage but rather right in the middle of the crowd. The room is in complete darkness with a creepy, seemingly authentic recording of a city on fire projected behind the stage to further cement the thick atmosphere of her show. I am instantly touched as she begins her absolutely masterful vocals behind some mellow sounding synths, performing some kind of tribalistic ritual by placing lights inside different parts of the audience, actually appearing right in front of me at one point with a tortured expression on her face. It is simply captivating and every part of this art installation draws you in, even though the music might not be that memorable in a traditional sense of the word. A harrowing cover of Dolly Parton’s turns the lover’s qualm of the original country song into pure desperation with a single piano as instrumentation, once again showing what a one of a kind talent she really is with her voice, chillingly beautiful in one moment, possessed demonic screaming in the next.

The show evolves into unimaginable horrific synth bass as she proceeds to swing around this contraption of ropes and light bulbs, menacingly causing the shades of the audience to crawl around the walls. I can’t stress enough that to me this is art more so than music, as I probably wouldn’t pop this type of disorienting noise on at home, but man is it effective in a live setting, though the placement of Lingua Ignota in the middle means that it can be really hard to see what’s going on at times, and I can only imagine what it would be like to be all the way in the back. There is one moment where I think the extreme is probably pushed a bit too far, as there is a point where it actually sounds like a speaker has been blown out (though I later find out that the broken sound was on purpose), causing the beautiful melancholic vocals to be buried in crackling noise, which takes me out of the trance a bit. The show is ended off in a heart-stabbing manner after that little hiccup though, as I can’t hold back a tear when the haunting words of “Holy is the Name (Of My Ruthless Axe)” is sung beautifully but also emotionally broken: ”All my rapists lay beside me, all my rapists cold and grey.” I notice that I am far from the only one in the crowd visibly touched by this cathartic ending to a mesmerizing show, and I really feel lucky that Lingua Ignota is brave enough to share her pain and suffering through her music with the rest of the world, cause something really special is emanating from her. Go watch her if you have the chance and a bit of an open mind. [9] KW

(full feature via Rock Freaks)