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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. 

Read the full interview HERE


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

Interview on Stuart Maconie's Freak Zone // BBC Sounds 

listen via BBC Sounds

Stuart explores the music of Lingua Ignota, a formidable and singular new talent. She combines ecstatic liturgical music with industrial noise and a powerful virtuosic voice.

Steve Hillage’s 1976 album L is the featured album featuring Don Cherry on trumpet and produced by Todd Rundgren it also features several members of Rundgren’s Utopia and is seen as a classic in the cosmic rock canon. There’s also new music from Gazelle Twin together with an experimental drone choir NYX, something from Jonny Greenwood’s new record label for classical music and a new voice emerging from Manchester’s rich history, Otis Jordan

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.” 


Read the full article and view more photos HERE.

Live Review + Gallery: Lingua Ignota at Basilica Soundscape // The Collaborative 

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 via The Collaborative

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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