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.

Lingua Ingota Channels The Spirit Of Kathy Acker Live // The Quietus 

"As he pulls hair out of the back of his head onto the sheet metal some stones blow up 

"My mother is the most beautiful woman in the world.” 

This text is a passage from the late transgressive fiction writer Kathy Acker’s 1981 masterpiece Great Expectations. However, the centre paragraph was actually lifted, or “pirated” as was Acker’s preferred term for the practice, from French author Pierre Guyotat’s masterpiece Eden, Eden, Eden. And of course the book’s title is pirated from the masterpiece of the same name by Charles Dickens, which Kathy also re-wrote the first passage of to open her book. In the appropriation of her favourite texts, Acker framed her artistic and philosophical interests as inseparable from her literary identity. The appropriated texts weren’t just Acker’s influences, they were the texts that she used to explore her own role in literature and culture. And despite Acker’s reliance on heavy academic research, her work was undeniably personal. It was a primal and visceral expression of rage, anxiety, and desire that was derived from an intense practice of studious rigour. 

“A significant element of Acker’s creative process was her personal library,” wrote Julian Brimmers for the Paris Review. “She was an avid and active reader. She frequently marked passages that she later pirated for her own novels. Most important, she used margins, blank pages, and empty spaces in front matter to formulate spontaneous ideas about her own art and (love) life—a glimpse into the writer’s mind at its most unfiltered.” 

I thought of Acker’s incorporation of diligent reading and research into a raw, unfiltered expression after witnessing LINGUA IGNOTA, AKA the providence-based musician Kristin Hayter, perform tracks from her new album CALIGULA at Saint Vitus in Brooklyn. Like Acker, Hayter immerses herself in art and history to fuel her intense expression. Writing for the Village Voice, Jamie Lowe said: “The first time I saw Kristin Hayter perform as LINGUA IGNOTA she was presenting her MFA thesis at Brown. She delivered striking operatic tones while behind her played black and white video footage of serial killer Aileen Wuornos, Pino Bausch choreography to Igor Stravinsky’s Rites of Spring and burning buildings. When she finished her set, at least three audience members were in tears.” There you have it. Hayter, like Acker, allows us to see her research as a way of emphasising her interiority, her alterity, and her emotional state; her research enhances the emotional impact of the work rather than dulls it. 

Hayter’s 2017 record as LINGUA IGNOTA All Bitches Die was an intense listen in its combination of noise, black metal, experimental electronics, and classical/choral influences. That said, it felt more like the start of something then the culmination of an idea in comparison with CALIGULA. Her latest LP is a masterpiece that perfectly balances her music’s overwhelming extremity and potent beauty. A survivor of harrowing abuse at the hands of a well-known but unnamed Providence noise musician, Hayter presents her sound and performances as rituals of excess catharsis, taking elements from spiritual music, the history of transgressive performance art (traces of Viennese Aktionists and early feminist artists like Carolee Schneeman enhance her performative style), and the well-worn clichés of extreme music that Hayter seems to both embrace and retain critical distance from in her visual packaging and performances.

 

Read the full article and view more photos HERE.

Gallery: Lingua Ignota at Basilica Soundscape 

 

Members of the audience dressed in black and torn denim began surrounding her in Basilica Hudson’s side room nearly half an hour before she was set to perform. Kristin Hayter (AKA) Lingua Ignota paced back and forth, took deep breaths, her eyes widened as if in a trance. 

She’d canceled the previous night’s show having lost her voice and she barely spoke above a whisper in an interview with The Collaborative earlier that day. With a series of sold out gigs ahead of her and an audience of fellow musicians like Dylan Walker of Full of Hell, The Body, members of Elizabeth Colour Wheel and a cast of characters from the music industry in the audience, the anticipation hung thick in the room. As M. Lamar’s set came to a close on the main stage, Hayter began her performance hidden behind a plastic tarp in a room made stifling with body heat and humidity. 

Her voice cracked at first and then it thundered. She strode forward into the crowd, a light hanging from her neck. She thrashed and flagellated herself. She stood in command at the top of her piano—contemptuous of the world. 

From baritone to soprano, whisper to horrible scream, Hayter had the audience rapt for her entire performance and even then they remained clapping, crying, heads in hand.

 

MORE PHOTOS HERE

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:

Read more