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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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'CALIGULA' Album Review // Pitchfork 

(via Pitchfork)

On her torrential second album, Kristin Hayter creates a murderous amalgam of opera, metal, and noise that uses her classical training like a Trojan Horse, burning misogyny to ash from its Judeo-Christian roots.

Eight minutes into her torrential second album as Lingua Ignota, Kristin Hayter lets out a thundering, apocalyptic scream: “I don’t eat, I don’t sleep [...] I let it consume me,” she cries. Her voice is so ugly and shredded and maniacal and alive that it creates a witness of anyone who hears it. It is the sound of trauma, that which is by definition intolerable, and Hayter traverses its most upsetting depths on behalf of survivors, including herself. With Caligula, she has created a murderous amalgam of opera, metal, and noise that uses her classical training like a Trojan Horse, burning misogyny to ash from its Judeo-Christian roots. 

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Lingua Ignota's track by track guide to CALIGULA // Louder Sound 

Some albums are so remarkable, they take root under your skin the second you hear them. CALIGULA – the second album from US experimentalist Lingua Ignota, also known as Kristin Hayter – is one such album. Brutal, ugly and deeply cathartic, it's an astonishing piece of work that tackles life as a survivor of domestic abuse. 

Confronting the myriad conflicts that come from living with (and subsequently surviving) abuse – from craving the love of those who hurt you all the way through to 'dropping their body in the fucking river' – it unflinchingly turns that conflict into visceral, honest art. 

If it sounds like a difficult listen, that's because it is. And if it makes you feel uncomfortable, that's because it's meant to. Lyrically vulnerable but furiously confrontational all at once, CALIGULA forces listeners to confront Hayter's demons alongside her, and delight in their vengeance as she mercilessly berates and conquers them. 

Musically, it's no easier. Resolutely difficult to categorise, CALIGULA layers caustic, operatic vocals with orchestral instrumentation, black metal inspiration, flashes of trip hop, obscured blast-beats, punishing rhythms and dark, hypnotic folk. It's not hyperbolic to state it's quite unlike anything you've likely heard before. 

Here, Hayter talks us through the brilliant CALIGULA one track at a time.

(Full feature via Louder Sound)