tag:www.sargenthouse.com,2005:/blogs/lingua-news?p=5Lingua News2022-05-26T08:30:43-07:00Sargent Housefalsetag:www.sargenthouse.com,2005:Post/67275562021-08-26T02:36:38-07:002021-08-26T02:36:52-07:00LINGUA IGNOTA - SINNER GET READY BILLBOARD FIRST WEEK CHARTS<p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/07c32940b1d8217481a889f243d04af5f5c715b9/original/billboard.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" />Lingua Ignota's album SINNER GET READY on the first week US only charts via Billboard.<br><br> </p>
<p>#2 Top New Artist Albums </p>
<p>#21 Top Current Album Sales </p>
<p>#36 Top Overall Album Sales</p>
<p>#4 Top Independent Current Albums </p>
<p>#4 Current Rock Albums </p>
<p>#6 Current Alternative Albums </p>
<p>#12 Heatseekers Albums</p>
<p>#33 Vinyl Albums</p>Sargent Housetag:www.sargenthouse.com,2005:Post/67183512021-08-16T08:37:25-07:002021-08-16T08:37:25-07:00SINNER GET READY: 10/10 FROM THE NEEDLE DROP<p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/9387cfa14eba9ec910fc93bda9a22bbf31574e1a/original/236199404-10166047879310529-720655356362262816-n.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>SINNER GET READY got a 10/10. Watch the review by The Needle Drop: <a contents="youtu.be/g6S0XHGKzUU" data-link-label="" data-link-type="url" href="http://youtu.be/g6S0XHGKzUU">youtu.be/g6S0XHGKzUU</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/67522662021-08-09T16:05:00-07:002021-09-20T15:58:16-07:00SINNER GET READY RECEIVES 8.0 PITCHFORK REVIEW<p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/a2a98d4e8a5519be10dfa72d4053af157c123d5e/original/screen-shot-2021-08-06-at-4-49-47-pm.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><br><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/429680d172ffc3bd2cf3080a5da3a64dd0ae49a2/original/screen-shot-2021-09-20-at-3-46-55-pm.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" />Pitchfork staff writer Madison Bloom reviewed Lingua Ignota's new album Sinner Get Ready. Bloom says of the record:<br><br>"Kristin Hayter’s latest is an intense and frightening religious inquiry, incorporating traditional Appalachian instruments and samples from televangelist sermons."</p>
<p>Read the entire 8.0 review <a contents="HERE" data-link-label="" data-link-type="url" href="https://pitchfork.com/reviews/albums/lingua-ignota-sinner-get-ready/">HERE</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/67112902021-08-09T10:21:28-07:002021-08-09T10:21:28-07:00THE GUARDIAN "LINGUA IGNOTA: SINNER GET READY REVIEW – A DEVASTATING VOICE"<p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/d8e4766c934ad32bf9152236795e5c0ea7972d45/original/theguardian-logo.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_none" alt="" /><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/9bafab30fb5d2ea8ccdc86df0ca55a418c7df2a9/original/3061.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/c9ddb9edc1abaa28231599e85edaa5086a587b09/original/screenshot-2021-08-09-at-19-17-53.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_l justify_center border_none" alt="" /></p>
<p><em><strong><a contents="Full review via theguardian.com" data-link-label="" data-link-type="url" href="https://www.theguardian.com/music/2021/aug/06/lingua-ignota-sinner-get-ready-review-kristin-hayter-potent-reckoning-with-religion">Full review via theguardian.com</a></strong></em></p>Sargent Housetag:www.sargenthouse.com,2005:Post/67112892021-08-09T10:16:51-07:002021-08-09T10:16:51-07:00LINGUA IGNOTA AMA ON REDDIT WITH INDIE HEADS<p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/f6d2cbffc8617d31942dfdd31ba77a9ace701c74/original/img-5623.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" />Lingua Ignota will do an AMA on Reddit with Indie Heads on Wednesday August 8th at 3pm ET/12 PM PT. Link: <a contents="https://t.co/rTRNhlwaPr" data-link-label="" data-link-type="url" href="https://t.co/rTRNhlwaPr">https://t.co/rTRNhlwaPr</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/67094212021-08-06T17:04:39-07:002021-08-06T17:04:39-07:00SINNER GET READY IN PITCHFORK'S WEEKLY ROUNDUP<p><a contents="" data-link-label="" data-link-type="url" href="https://pitchfork.com/news/5-new-albums-you-should-listen-to-now-lingua-ignota-ty-segall-tinashe-and-more/" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/a2a98d4e8a5519be10dfa72d4053af157c123d5e/original/screen-shot-2021-08-06-at-4-49-47-pm.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_none" alt="" /></a></p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://pitchfork.com/news/5-new-albums-you-should-listen-to-now-lingua-ignota-ty-segall-tinashe-and-more/" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/76ac5f582ef0be1ec8ce71a854f653dfa3f3926c/original/screen-shot-2021-08-06-at-4-12-23-pm.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_thin" alt="" /></a><br><a contents="via Pitchfork" data-link-label="" data-link-type="url" href="https://pitchfork.com/news/5-new-albums-you-should-listen-to-now-lingua-ignota-ty-segall-tinashe-and-more/" target="_blank"><em><strong>via Pitchfork</strong></em></a><br><br> </p>Sargent Housetag:www.sargenthouse.com,2005:Post/67094922021-08-05T16:00:00-07:002021-08-06T19:15:06-07:00INTERVIEW: LINGUA IGNOTA’S APPALACHIAN GOTHIC<p><a contents="" data-link-label="" data-link-type="url" href="https://www.stereogum.com/2156234/lingua-ignota-sinner-get-ready/interviews/qa/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/372908/ccb86dd35b44d3f32db446da9d62b7fe5ad0258d/original/screen-shot-2021-08-06-at-4-06-57-pm.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /><img src="https://d10j3mvrs1suex.cloudfront.net/u/372908/a12163562c3de7109e9fd7091a3ff2265d4ff0f9/original/screen-shot-2021-08-06-at-4-08-04-pm.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /></a></p>
<p><img src="https://d10j3mvrs1suex.cloudfront.net/u/372908/b77c90d630a1776b384b8f2e4d9122ed092a6258/original/n3zwhjcu.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>Kristin Hayter sings, speaks, and occasionally shouts on her new record, but she doesn’t scream. Unlike her previous work as Lingua Ignota, there’s very little to tie her songs on Sinner Get Ready to black metal or noise. “It might be kind of divisive,” Hayter admitted. Her most recent album, 2019’s devastating Caligula, garnered international attention for its mix of metal, industrial, and opera tropes, which she combined with live performance art to terrifying effect. But the success of the project became limiting for Hayter: “When I was thinking about making this record, I was literally told, ‘You have to make Caligula 2, and it has to be better than Caligula.'” But those expectations didn’t align with her reality. “I think one of the major tenets of this project is to remain authentic,” she said. “I wanted to really make it about what I was experiencing at that time.”</p>
<p><a contents="Full interview via Stereogum.com" data-link-label="" data-link-type="url" href="https://www.stereogum.com/2156234/lingua-ignota-sinner-get-ready/interviews/qa/" target="_blank"><strong><em>Full interview via Stereogum.com</em></strong></a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/67077512021-08-05T07:20:51-07:002021-08-05T07:20:51-07:00ALBUM REVIEW: LINGUA IGNOTA 'SINNER GET READY' //METAL INJECTION<p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/e10bc3f25a9daafa48c6a2abf53d36b6252d0e2f/original/230157513-370046971156659-6240644690287699835-n.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p> </p>
<p> </p>
<p> </p>
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<p>Lingua Ignota announcing Sinner Get Ready got many responses like: “Get Ready? We’re still recovering from Caligula!” If that seems hyperbolic, check out “Do You Doubt Me Traitor.” Kristin Hayter’s 2019 album Caligula is an emotional blunderbuss spanning neo-classical, death industrialist and apocalyptic folk. The self-proclaimed “butcher of the world” reached once-in-a-generation levels of raw intensity, forming her anguish into a weapon against her aflictors. After such a colossal exercise of trauma, Lingua Ignota’s followup strips back its harsh electronics, harnessing acoustic ruin for a harrowing spiritual journey.</p>
<p><em><strong><a contents="Full review via&nbsp;metalinjection.net" data-link-label="" data-link-type="url" href="https://metalinjection.net/reviews/lingua-ignota-sinner-get-ready/amp?fbclid=IwAR31futze2ZfjYD24NbXaG1s66QTA5hlAB-K13EIsexOrV95yhRXTp0H1YE">Full review via metalinjection.net</a></strong></em></p>Sargent Housetag:www.sargenthouse.com,2005:Post/67022752021-07-30T07:43:08-07:002021-07-30T07:43:08-07:00LINGUA IGNOTA ANNOUNCES A NEW SHOW IN CAMBRIDGE, MA<p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/eb270f0e76c54e36be338cbe56e87b70342f6c8b/original/li-boston-ig.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>Lingua Ignota presents SINNER GET READY in Cambridge, MA at The Sinclair on October 4th, 2021.</p>
<p>Tickets on sale: <a contents="https://www.axs.com/events/409915/lingua-ignota-tickets?skin=sinclair" data-link-label="" data-link-type="url" href="https://www.axs.com/events/409915/lingua-ignota-tickets?skin=sinclair">https://www.axs.com/events/409915/lingua-ignota-tickets?skin=sinclair</a></p>
<p><strong>US shows: </strong></p>
<p>Oct 17, 2021 New York, NY - Le Poisson Rouge (SOLD-OUT)</p>
<p>Nov 8, 2021 Chicago, IL - Thalia Hall </p>
<p><strong>EU shows in 2022: </strong></p>
<p>June 2, 2022 Barcelona - Primavera Sound </p>
<p>Oct 13-15, 2022 Porto, Portugal - Amplifest </p>
<p>More performances will be announced in the coming weeks: <a contents="https://linguaignota.net/shows" data-link-label="" data-link-type="url" href="https://linguaignota.net/shows">https://linguaignota.net/shows</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/66945512021-07-22T06:00:00-07:002021-07-22T06:00:11-07:00LINGUA IGNOTA DECIBEL COVER - SEPTEMBER 2021<p><a contents="" data-link-label="" data-link-type="url" href="https://store.decibelmagazine.com/collections/back-issues/products/september-2021-203" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/330c5dbc7542ebe026257f91fd5bc3e0fc77d21d/original/db203-coveronline.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /></a></p>
<p>via <a contents="Decibel Magazine" data-link-label="" data-link-type="url" href="http://www.decibelmagazine.com" target="_blank">Decibel Magazine </a></p>
<p><a contents="Lingua Ignota" data-link-label="" data-link-type="url" href="http://www.linguaignota.net">Lingua Ignota</a> graces the cover with a full feature in the September 2021 issue of <a contents="Decibel Magazine" data-link-label="" data-link-type="url" href="http://www.decibelmagazine.com" target="_blank">Decibel Magazine</a>. The issue, which also features <a contents="Deafheaven" data-link-label="" data-link-type="url" href="http://www.deafheaven.com" target="_blank">Deafheaven</a> and includes an exclusive limited edition Ripped to Shreds flexi disc, is only available in print or to subscribers so <a contents="grab your copy HERE!" data-link-label="" data-link-type="url" href="https://store.decibelmagazine.com/collections/back-issues/products/september-2021-203" target="_blank">grab your copy HERE!</a></p>
<p>Photography by <a contents="Jason Blake" data-link-label="" data-link-type="url" href="https://www.jason-blake.com" target="_blank">Jason Blake </a><br>Wardrobe by <a contents="Ashley Rose Couture" data-link-label="" data-link-type="url" href="https://www.ashleyrosecouture.com" target="_blank">Ashley Rose Couture</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/66886642021-07-15T06:00:00-07:002021-07-15T06:06:59-07:00LINGUA IGNOTA SHARES NEW SONG “PERPETUAL FLAME OF CENTRALIA” ACCOMPANIED BY A VIDEO & FASHION COLLABORATION WITH ASHLEY ROSE COUTURE <p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="330" src="https://www.youtube.com/embed/6FKgLmT5s2A" title="YouTube video player" width="530"></iframe></p>
<p>“PERPETUAL FLAME OF CENTRALIA” is a quiet meditation on one of the major lyrical motifs of the record, the blood of Jesus; that which can “wash and cleanse every stain,” as tearfully expressed by disgraced evangelist Jimmy Swaggart in a televised confession. </p>
<p>The video, shot by Emily Birds, brings an extraordinary and profoundly moving collaboration between Hayter and acclaimed fashion designer and fellow Sargent House artist Ashley Rose Couture who created the looks specifically for this video, inspiring an entire collection. Prompted with “the blood of Jesus,” the designer created a floor-length, red veil studded with pearls and mountains of tulle. Hayter explains, “I asked her to design a piece indebted to 17th-century dutch costume, and she returned with a gown with a 20-foot train and a magisterial lace collar exploding with pearls.” The two artists deal with pain through their art: Hayter through past domestic abuse and Rose through the death of her twin brother, whose encouragement led to her starting her own line. </p>
<p>Rose notes: </p>
<p>“Upon meeting Kristin, I felt a genuine connection, both personal and creative, which has only grown this past year working together. To watch someone turn so much pain into art and continue to pick themself up and push on over and over again is exactly what this collection is about. I want the person who wears these pieces to feel strong and empowered no matter how overwhelming or suffocating life can become. Even when it continues to return. You can keep fighting or let the fog swallow you. “ </p>
<p>Hayter adds: </p>
<p>“I first saw Ashley’s work long before I was able to wear it, and it spoke to me as a longtime fan of the aesthetics and theory of fashion. Her designs transform the wearer into something outside themselves, armor that allows one to embody fantasy or nightmare. Working collaboratively with Ashley has been a dream, I have been able to explore the ideas of my record with wearable art. I chose to wear her mask on the cover of SINNER GET READY because it held the sharp dichotomy of my music; it was chaste and erotic, exquisite and grotesque. For the PERPETUAL FLAME OF CENTRALIA video, the expressive capacity of her garments are meditated upon in juxtaposition to the stark, desolate quality of my song. It is the material vs. the immaterial, and the result is languid and dreamy and wonderfully claustrophobic.” </p>
<p>SINNER GET READY, arriving August 6th via Sargent House, is an unsettling portrait of devotion and betrayal, judgment and consequence, set in the derelict landscape of rural Pennsylvania, a neglected region deeply embedded with a particularly god-fearing brand of Christianity, and where Hayter was living during the album’s inception. </p>
<p>The album was created with Hayter's primary collaborator, producer, and engineer Seth Manchester at Machines With Magnets in Rhode Island, with additional arrangements and performances from multi-instrumentalist and composer Ryan Seaton and banjo-playing from J. Mamana.</p>Sargent Housetag:www.sargenthouse.com,2005:Post/66856672021-07-12T12:16:25-07:002021-07-12T12:16:25-07:00LINGUA IGNOTA - SINNER GET READY SECOND PRESSING<p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/d1f2798ad7414c663d43c0af572bde1a7a7a629e/original/img-4489.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" />Two new vinyl color versions of SINNER GET READY are now available for pre-orders at Hello Merch and Evil Greed. Both store ship worldwide. Please note: these vinyl will be shipped around February 2022. <br><br>Pre-order here: <a contents="https://linktr.ee/linguaignota" data-link-label="" data-link-type="url" href="https://linktr.ee/linguaignota">https://linktr.ee/linguaignota</a></p>
<p> </p>Sargent Housetag:www.sargenthouse.com,2005:Post/66737982021-06-29T06:30:21-07:002021-06-29T06:30:21-07:00‘PENNSYLVANIA FURNACE’ AND THE ASCENSION OF LINGUA IGNOTA // KILLYOURSTEREO<p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/77f3fe67ad710e883dbdb16b315c79ef637813f3/original/0025215004-10-1024x683.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" />With the Appalachian folk, classic & gospel-hymn mood of ‘Pennsylvania Furnace,’ Lingua Ignota is as soul-bearing as ever, refusing to copy herself.</p>
<p><em><a contents="Full article via killyourstereo.com" data-link-label="" data-link-type="url" href="https://killyourstereo.com/news/1109883/pennsylvania-furnace-and-the-ascension-of-lingua-ignota/">Full article via killyourstereo.com</a></em></p>Sargent Housetag:www.sargenthouse.com,2005:Post/66656782021-06-21T08:05:40-07:002021-06-21T08:06:00-07:00LINGUA IGNOTA "PENNSYLVANIA FURNACE" // PRESS<p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/152b3c5af359c69140f5653655128a0ca5618319/original/lingua-ignota-pennsylvania-furnace-videostill.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p style="text-align: center;"><strong><span class="font_large">PRESS REVIEW</span></strong></p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"><span class="font_large"><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/79c2e55461205b4d52a2fb5b66785276f721bfc7/original/screenshot-2021-05-21-at-21-45-49.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_none" alt="" /></span><em><strong>“PENNSYLVANIA FURNACE is delicate, with Hayter forgoing her cathartic shrieks in favor of a gentler operatic deliver"</strong></em></p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"><em><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/8e7a58c37576ab53b0eb0f61aca1391d407da5a7/original/bv-1logo-new1-2.png/!!/meta:eyJzcmNCdWNrZXQiOiJjb250ZW50LnNpdGV6b29nbGUuY29tIn0=/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_none" alt="" />"a dark, emotive, and elegiac track"</strong></em></p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"><strong><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/3993206e1261bbefe66a6815cc83dd9269a46f62/original/screenshot-2021-02-01-at-20-09-20.png/!!/meta:eyJzcmNCdWNrZXQiOiJjb250ZW50LnNpdGV6b29nbGUuY29tIn0=/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_none" alt="" /><em>"Find a quiet place and absorb it all"</em></strong></p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/3bfb5569434c9dd3665c7bfb33e9499f027b882b/original/consequence-of-sound.png/!!/meta:eyJzcmNCdWNrZXQiOiJjb250ZW50LnNpdGV6b29nbGUuY29tIn0=/b:W1sic2l6ZSIsInNtYWxsIl1d.png" class="size_s justify_center border_none" alt="" /><br><strong>"Hayter drops her industrial leanings for a haunting take on Appalachian folk and gospel music on Sinner Get Ready"</strong></p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"> </p>
<p style="text-align: center;"><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/7a1e5d59d40b2bcd5c4ea46a299225cb618e5f2f/original/bpm.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_none" alt="" /></p>
<p style="text-align: center;"><strong>"a song that places Hayter’s rich and resounding voice front and centre in an almost hymnal outpouring"</strong></p>
<p style="text-align: center;"> </p>Sargent Housetag:www.sargenthouse.com,2005:Post/66656402021-06-21T07:39:53-07:002021-06-21T07:39:53-07:00LINGUA IGNOTA: INTERVIEW // METAL HAMMER<p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/586c4d0ea11e9596a8116d74bbe770e89c631b56/original/9e-ekpow.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" />We don’t throw the word ‘masterpiece’ around lightly, but Lingua Ignota’s 2019 album Caligula, is worthy of that accolade – a bewilderingly inventive work of stately beauty and jarring noise that triumphantly turned her personal trauma into glorious art. </p>
<p>Now Lingua Ignota – aka classically-trained singer and multi-instrumentalist Kristin Hayter - has returned with a brand new single, the stark and stunning Pennsylvania Furnace, which dials back the noise for dramatic, piano-led atmospherics. </p>
<p>The song apparently “reflects on the inevitability of God’s judgment, evoking the legend of an 18th-century ironmaster whose dogs return to drag him down to hell after he throws them all into his furnace in a rage”, while the video, filmed in rural Pennsylvania, was directed, shot and edited by Hayter alone. </p>
<p>We caught up with her to find out what we can expect from the new album…</p>
<p><em><a contents="Full interview via loudersound.com" data-link-label="" data-link-type="url" href="https://www.loudersound.com/news/lingua-ignota-pennsylvania-furnace--sinner-get-ready-single-album?fbclid=IwAR1fP3iAEXzA59UpPElMCU2ZW3DTO7A1BBms7aWaqpfqpprAab1A1tX4M3U">Full interview via loudersound.com</a></em></p>Sargent Housetag:www.sargenthouse.com,2005:Post/66623382021-06-17T08:32:05-07:002021-06-17T11:15:06-07:00LINGUA IGNOTA ANNOUNCES NEW ALBUM SINNER GET READY. WATCH THE VIDEO OF “PENNSYLVANIA FURNACE”<p><img src="https://d10j3mvrs1suex.cloudfront.net/u/372908/52bc534537fb0e03959bf181b7a2154c27bb95cc/original/xacm9ocq.jpeg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>Kristin Hayter, the classically trained multi-instrumentalist, performance artist, and vocalist known as Lingua Ignota has announced her Sargent House debut, SINNER GET READY arriving August 6th. The follow up to her critically acclaimed break out CALIGULA, SINNER GET READY is an unsettling portrait of devotion and betrayal, judgement and consequence, set in the derelict landscape of rural Pennsylvania, a neglected region deeply embedded with a particularly god fearing brand of Christianity, and where Hayter was living during the album’s inception. Watch the video for “PENNSYLVANIA FURNACE” incredibly it was all directed, shot, and edited by Hayter herself using remarkable imagery and the landscapes of rural Pennsylvania. The song reflects on the inevitability of God’s judgment, evoking the legend of an 18th-century ironmaster whose dogs return to drag him down to hell after he throws them all into his furnace in a rage. </p>
<p>With SINNER GET READY Hayter continues to build on the mythology she has created with CALIGULA and ALL BITCHES DIEbut renegotiates and dismantles her own aesthetic language. She abandons any previous industrial grandeur and multi-genre approach, instead focusing on creating dissonance with traditional instruments of the Appalachian region. SINNER GET READYwas created with Hayter's primary collaborator, producer, and engineer Seth Manchester at Machines With Magnets in Rhode Island, with additional arrangements and performances from multi-instrumentalist and composer Ryan Seaton, and banjo-playing from J. Mamana. </p>
<p>A graduate of the School of the Art Institute of Chicago with an MFA in Literary Art from Brown University much of Hayter’s work is centralised around abuse. A survivor of domestic abuse for much of her life, her music seeks to explore the survivor hood of abuse through the vantage point of rage and despair in lieu of common approaches she views as "enforced patriarchal models of civilized femininity". Her past works have received praise from Pitchfork, Noisey, The Quietus among others. Her cover of the song Jolene was the inspiration behind designer Sébastien Meunier’s 2019 spring collection for Ann Demeulemeester who named the collection after it.</p>
<p><em><strong>Pre-order / Stream / Watch: <a contents="https://ffm.to/li-sinnergetready" data-link-label="" data-link-type="url" href="https://ffm.to/li-sinnergetready">https://ffm.to/li-sinnergetready</a></strong></em></p>
<p> </p>
<p> </p>
<p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="330" src="https://www.youtube.com/embed/7YRMV7ffPpY" title="YouTube video player" width="530"></iframe></p>Sargent Housetag:www.sargenthouse.com,2005:Post/66396782021-05-25T09:50:02-07:002021-06-10T20:34:25-07:00LINGUA IGNOTA WILL PLAY PRIMAVERA SOUND 2022<p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/55c9b537a4a3dcc76aa28819173e7f9b440240d5/original/lin2.png/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.png" class="size_l justify_center border_" /></p>
<p>We’re happy to announce that Lingua Ignota will be part of the incredible lineup of Primavera Sound 2022. </p>
<p>Info/Tickets: <a contents="primaverasound.com/barcelona" data-link-label="" data-link-type="url" href="http://primaverasound.com/barcelona">primaverasound.com/barcelona</a></p>
<p> </p>
<p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/607c0ee15c16cc7d613366b4af78d2cb61a84a09/original/191341694-10165749274930529-7151380880418819426-n.jpg/!!/meta:eyJzcmNCdWNrZXQiOiJiemdsZmlsZXMifQ==/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p> </p>Sargent Housetag:www.sargenthouse.com,2005:Post/65853672021-03-26T02:04:33-07:002021-03-26T02:04:33-07:00LINGUA IGNOTA: NEW PATCH AND PIN AVAILABLE<p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/79a0bf72155f9d4ba24cfc2163ff745f9aecdb46/original/164901283-10165485810845529-3119714766774055886-o.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>New <a contents="Lingua Ignota" data-link-label="" data-link-type="url" href="https://sargenthouse.com/lingua-ignota">Lingua Ignota</a> M.Y.B.W Patch and Knife Pin only available at Hello Merch for now. They ship worldwide. </p>
<p><a contents="https://www.hellomerch.com/collections/lingua-ignota" data-link-label="" data-link-type="url" href="https://www.hellomerch.com/collections/lingua-ignota">https://www.hellomerch.com/collections/lingua-ignota</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/65792242021-03-19T07:50:19-07:002021-03-19T11:30:15-07:00LINGUA IGNOTA “AGNUS DEI" AVAILABLE EVERYWHERE<p><img src="https://d10j3mvrs1suex.cloudfront.net/u/372908/3da4eb28b05b633911c3fa92dbce0ed3fbc97d87/original/agnusdei-sh.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" />You can now stream and download 'AGNUS DEI', the new EP by Lingua Ignota, out today everywhere via Sargent House. There will be a vinyl, but due to manufacturers delay in production times it won’t be available until this summer. Pre-orders will open when it's ready. </p>Sargent Housetag:www.sargenthouse.com,2005:Post/65790112021-03-19T07:08:35-07:002021-04-23T04:02:53-07:00LINGUA IGNOTA “AGNUS DEI" AVAILABLE EVERYWHERE<p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/edfc642825fb68fa3a128fc7dc6bb46f67f40e43/original/agnusdei-sh.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>You can now stream and download 'AGNUS DEI', the new EP by <a contents="Lingua Ignota" data-link-label="" data-link-type="url" href="https://sargenthouse.com/lingua-ignota">Lingua Ignota</a>, out today everywhere via Sargent House. We will be releasing this as a limited edition vinyl with her three most recent cover versions of, ‘Jolene’, “Kim” and “Wicked Game” on the B side. Due to extensive wait times in vinyl manufacturing this will not be available until Aug/Sept 2021. Pre-orders to reserve a copy will be up in advance in the next month or so.</p>
<p> </p>
<p> </p>
<p> </p>Sargent Housetag:www.sargenthouse.com,2005:Post/65780312021-03-18T10:52:24-07:002021-06-17T09:08:24-07:00INTERVIEW: LINGUA IGNOTA FOR THOUGHTSEIZE INTERVIEWS<p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/da1794a213410e0c1bb1a8518e3108a6b168b195/original/maxresdefault-6.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>Watch the new episode of Thoughtseize Interviews now available on Youtube. Lukas Frank (<a contents="Storefront Church" data-link-label="" data-link-type="url" href="https://sargenthouse.com/storefront-church">Storefront Church</a>) and Cole (<a contents="DIIV" data-link-label="" data-link-type="url" href="https://sargenthouse.com/diiv">DIIV</a>) talk with <a contents="Lingua Ignota" data-link-label="" data-link-type="url" href="https://sargenthouse.com/lingua-ignota">Lingua Ignota</a> about Werner Herzog, vicarious trauma, making music in capitalist society, diy music, academia, and self-sacrifice while playing Magic The Gathering.</p>
<p> </p>
<p style="text-align: center;"><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/54HcMH4KwbI" width="560"></iframe></p>Sargent Housetag:www.sargenthouse.com,2005:Post/65742842021-03-15T09:09:17-07:002021-06-17T22:22:38-07:00LINGUA IGNOTA GUEST OF THOUGHTSEIZE INTERVIEWS <p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/f20298a88c045cda985e374b6d221da847f2ba3e/original/img-9668.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /><a contents="Lingua Ignota" data-link-label="" data-link-type="url" href="https://sargenthouse.com/lingua-ignota">Lingua Ignota</a> will be a guest of Thought Seize Interviews, the new show hosted by Lukas Frank AKA <a contents="Storefront Church" data-link-label="" data-link-type="url" href="https://sargenthouse.com/storefront-church">Storefront Church</a> and Cole Smith of <a contents="DIIV" data-link-label="" data-link-type="url" href="https://sargenthouse.com/diiv">DIIV</a>. They will ask her some meaningful questions while playing Magic the Gathering. Tonight, March 15th 8PM EST/ 5PM PST on Thought Seize Interviews Twitch channel: https://linktr.ee/thoughtseizeinterviews</p>Sargent Housetag:www.sargenthouse.com,2005:Post/65488552021-02-14T16:00:00-08:002021-05-07T19:05:10-07:00LINGUA IGNOTA 'AGNUS DEI' // THE NEEDLE DROP BEST NEW EPs <p><img src="//d10j3mvrs1suex.cloudfront.net/u/159790/57f1f161f55bb51f9ab90cb5d643cc5c4ce4973c/original/screenshot-2021-02-15-at-15-14-43.png/!!/b:W10=.png" class="size_l justify_center border_" /><em>Full video: <a contents="https://youtu.be/o9zjycjRLU4" data-link-label="" data-link-type="url" href="https://youtu.be/o9zjycjRLU4">https://youtu.be/o9zjycjRLU4</a></em></p>Sargent Housetag:www.sargenthouse.com,2005:Post/65407002021-02-05T11:54:07-08:002021-02-05T11:56:39-08:00Lingua Ignota 'Agnus Dei' - A Collection of Recordings on Bandcamp<p><a contents="" data-link-label="" data-link-type="url" href="https://linguaignota.bandcamp.com/album/agnus-dei" style="" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/b185a6134b98e53e249b2d137dd91f09cd91243d/original/a4233092693-10.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a><br>Today for Bandcamp Friday, Lingua Ignota has released 'Agnus Dei', a collection of recordings that includes: the cover of Iron Lung's 'Sexless no Sex', Bach's 'Agnus Dei from Mass in B minor', 'Where'er you walk' based on the GF Handel that features Alexis Marshall reading "I know, you walk" by Hermann Hesse. <br><br>Link: <a contents="https://linguaignota.bandcamp.com/album/agnus-dei" data-link-label="" data-link-type="url" href="https://linguaignota.bandcamp.com/album/agnus-dei" style="" target="_blank">https://linguaignota.bandcamp.com/album/agnus-dei</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/64919642020-12-04T13:33:17-08:002021-05-26T04:07:33-07:00CALIGULA Demos // Bandcamp Friday (Dec 4)<p><a contents="" data-link-label="" data-link-type="url" href="https://linguaignota.bandcamp.com/album/the-caligula-demos" style="" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/372908/9b6097aa660b8bb97477074dfb086d9aab7c6256/original/a2411150532-10.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a></p>
<p>The Lingua Ignota CALIGULA demos are extraordinary and are only available today on Bandcamp. All sales go directly to her. Please support if you can 🖤 <a contents="https://linguaignota.bandcamp.com/album/the-caligula-demos" data-link-label="" data-link-type="url" href="https://linguaignota.bandcamp.com/album/the-caligula-demos" style="" target="_blank">https://linguaignota.bandcamp.com/album/the-caligula-demos</a><br><br>"As the Caligula chapter of Lingy comes to a close and the new record moves into play, I’m giving you a full album length package of outtakes and demos from Caligula, all things I recorded at home before heading into the studio. You’ll hear the record coming together, motifs from one song in another, things that were heavy done quietly, some things that never made it, lyrics moving around."</p>Sargent Housetag:www.sargenthouse.com,2005:Post/64480872020-10-02T15:45:53-07:002021-06-16T23:47:57-07:00Lingua Ignota cover of "KIM" by Eminem on Bandcamp<p><a contents="" data-link-label="" data-link-type="url" href="https://linguaignota.bandcamp.com/track/kim" style="" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/372908/60e88228ab8cf424dfd40c2be09b0d91429d4da7/original/a0457119644-10.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a>WE'RE GOING FOR A RIDE // Lingua Ignota's cover of Eminem's "KIM" is now available on Bandcamp only.<br>"I’ve been doing this song live for years, remembering how it felt to live this way. Solidarity. Happy Bandcamp Friday." – Kristin<br><br>[<a contents="LINK" data-link-label="" data-link-type="url" href="https://linguaignota.bandcamp.com/track/kim" target="_blank">LINK</a>]</p>Sargent Housetag:www.sargenthouse.com,2005:Post/64429892020-09-25T11:54:02-07:002020-09-25T12:03:45-07:00JOLENE Cover Available for Stream Everywhere<p><a contents="" data-link-label="" data-link-type="url" href="https://smarturl.it/LI-Jolene" style="" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/44150e474eebdd7d0620962891eaa75d28e74970/original/120202817-3073637996079078-8088076016730132312-n.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a></p>
<p>Lingua Ignota's cover of Dolly Parton's JOLENE is now available for stream or purchase on all platforms.</p>
<p>Listen <a contents="HERE" data-link-label="" data-link-type="url" href="https://smarturl.it/LI-Jolene" target="_blank">HERE</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/64316832020-09-11T17:18:10-07:002020-09-11T17:18:10-07:00Lingua Ignota Wicked Game Cover Track ft. Alexis Marshall<p><a contents="" data-link-label="" data-link-type="url" href="https://smarturl.it/LI-WickedGame" style="" target="_blank"><img src="//d10j3mvrs1suex.cloudfront.net/u/372908/94e8e99eb17fb233b0255b218f0c855f6bb31212/original/a2915354829-16.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a>WICKED GAME BY CHRIS ISAAK. ARRANGED, PRODUCED, RECORDED, AND PERFORMED BY KRISTIN M HAYTER IN CALIFORNIA IN AUGUST 2020. GUEST VOCALS BY <a contents="ALEXIS MARSHALL" data-link-label="Alexis Marshall" data-link-type="page" href="/alexis-marshall" target="_blank">ALEXIS MARSHALL</a>. SAMPLE OF "THRENODY FOR THE VICTIMS OF HIROSHIMA" BY KRZYSZTOF PENDERECKI.</p>
<p>Available on all platforms now. Listen / Download <a contents="HERE" data-link-label="" data-link-type="url" href="https://smarturl.it/LI-WickedGame" target="_blank">HERE</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/63793612020-07-07T17:44:49-07:002020-07-07T20:30:39-07:00CALIGULA Test Pressing & Artifacts Bundle // SH Raffle BLM Fundraiser<p><a contents="" data-link-label="" data-link-type="url" href="https://www.hellomerch.com/collections/sargent-house-raffle" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/372908/236dc64fc83dd92718bd2c6a40935c8ec1f11ff3/original/lingua-raffle-feed.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a>Lingua Ignota CALIGULA artifacts bundle has just been added to the <a contents="Sargent House" data-link-label="" data-link-type="url" href="http://sargenthouse.com" target="_blank">Sargent House</a> Black Lives Matter raffle with a first edition test press and many items featured in the photos related to the record. Check out all the unique, one of a kind items our Artists have donated including many guitars, gear, test presses, and original artworks on the last slide video. Tickets are $10 and you can enter for only the items you want to win - all money raised is being donated to the artists choices. Our whole raffle ends July 15th. ALL ITEMS POSTED HERE: <a contents="hellomer.ch/SHRAFFLE" data-link-label="" data-link-type="url" href="http://hellomer.ch/SHRAFFLE" target="_blank">hellomer.ch/SHRAFFLE</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/63338522020-05-28T15:31:29-07:002021-04-12T17:39:42-07:00Zine collaboration w/ Sven Harambašić<p><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/d88634ec18a8c5a42f1f987273083a821963fa08/original/101043830-10164058630245529-8338851323566882816-o.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>Lingua Ignota unveils a collaborative ‘zine/artifact with Croatian photographer and designer Sven Harambašić. The handmade book is an exclusive work of art that goes deep into Lingua Ignota’s lyrics along with the beautiful portraits Sven took in Berlin during my tour in 2019. The zine is limited to 52 copies printed in color on 160g glossy paper and hand numbered. Each one has a unique acrylic painting on the cover and has uniquely hand-burned pages inside. Three new shirts designed by Sven Harambašić are also available worldwide Hello merch and EU/UK evilgreed. The zine is ONLY available at evilgreed, first come first serve. Thank you so much @svenharambasic for your amazing work here. More in the future I hope. </p>
<p>SORRY zine is already SOLD OUT thank you ! <br>links to both stores: <a contents="https://linguaignota.net/shop" data-link-label="" data-link-type="url" href="https://linguaignota.net/shop" target="_blank">https://linguaignota.net/shop</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/63156382020-05-13T13:39:03-07:002020-05-13T17:45:40-07:00Kristin Hayter Interview about COVID-19 // Rolling Stone<p><a contents="" data-link-label="" data-link-type="url" href="https://www.rollingstone.com/music/music-features/lingua-ignota-music-in-crisis-interview-covid-19-997228/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/9a8208ef9013f766e4ecd76816aa440c9e5edf9b/original/rolling-stone-logo.png/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_" /></a></p>
<h2><span class="font_xl">Canceled Gigs, Postponed Surgery: How COVID-19 Upended One Indie Artist’s Year </span></h2>
<h2>“Playing shows is probably 90 percent of my income,” says Kristin Hayter, who performs as <a contents="Lingua Ignota" data-link-label="Lingua Ignota" data-link-type="page" href="https://linguaignota.net/lingua-ignota" target="_blank">Lingua Ignota</a>. What happens when that’s not an option?</h2>
<p><a contents="" data-link-label="" data-link-type="url" href="https://www.rollingstone.com/music/music-features/lingua-ignota-music-in-crisis-interview-covid-19-997228/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/2e27926627eb4f38eb3d6b11f28bba6226f1f65d/original/screen-shot-2020-05-13-at-1-23-37-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></a></p>
<p>2020 was supposed to be a big year for Kristin Hayter. The singer, who performs as Lingua Ignota, had released her third album, Caligula, last July, earning praise for her skillful blend of metal, noise, and classical. She had headlining shows and big-festival slots lined up. Then, COVID-19 snuffed them all out, along with her income. Even worse, it all happened just as the uninsured musician was dealing with substantial medical issues. She spoke to Rolling Stone about her struggles before and during the pandemic, and why she felt compelled to make a cathartic musical response to the Gal Gadot “Imagine” video. Here’s her story in her own words. </p>
<p>Once Trump shut down international travel, my manager was like, “Everything’s gonna get canceled.” Counting just festivals and larger shows I had lined up, I lost maybe 20 gigs and tens of thousands of dollars. I really like to play. It helps me feel connected to people in ways that I typically don’t. After the initial emotional reaction, I was thinking, “I’m fucked — I’m not gonna have any money.” Playing shows is probably 90 percent of my income.</p>
<p> </p>
<p><a contents="Full article by Jon Blistein via Rolling Stone" data-link-label="" data-link-type="url" href="https://www.rollingstone.com/music/music-features/lingua-ignota-music-in-crisis-interview-covid-19-997228/" target="_blank"><em>Full article by Jon Blistein via Rolling Stone</em></a></p>
<p> </p>Sargent Housetag:www.sargenthouse.com,2005:Post/62964042020-04-27T15:02:28-07:002020-04-27T16:30:29-07:00Story Time With Sargent House Episode #1 // Kristin Hayter "Lingua Ignota"<p><a contents="" data-link-label="" data-link-type="url" href="https://instagram.com/sargenthouse/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/f623267d210c2dac4dc7e8102f6ea764d5bee6dd/original/94516420-2974175276036763-9039003818280353792-o.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a></p>
<p>Kristin Hayter will be the guest on the first episode of Story Time with <a contents="Sargent House" data-link-label="" data-link-type="url" href="http://sargenthouse.com" target="_blank">Sargent House</a> interview series on IG Live.</p>
<p>Tune in this Friday, May 1st on our IG Live at 3PST / 6EST ONLY on: <a contents="https://instagram.com/sargenthouse/" data-link-label="" data-link-type="url" href="https://instagram.com/sargenthouse/" target="_blank">https://instagram.com/sargenthouse/</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/62675602020-03-31T12:46:00-07:002020-03-31T12:46:00-07:00"O Ruthless Great Divine Director" on Best Tracks of the Week // The Needle Drop<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="92vrirjwNgU" data-video-thumb-url="https://img.youtube.com/vi/92vrirjwNgU/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/92vrirjwNgU?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="360" width="600" allowfullscreen="true"></iframe></p>
<p>The Needle Drop has named Lingua Ignota's single "O Ruthless Great Divine Director" as one of the best tracks of the week. Watch the whole video <a contents="HERE" data-link-label="" data-link-type="url" href="https://youtu.be/92vrirjwNgU" target="_blank">HERE</a>.</p>Sargent Housetag:www.sargenthouse.com,2005:Post/62629382020-03-26T13:42:44-07:002021-04-18T21:14:02-07:00LINGUA IGNOTA “O RUTHLESS GREAT DIVINE DIRECTOR" NOW STREAMING EVERYWHERE<p><a contents="" data-link-label="" data-link-type="url" href="https://smarturl.it/LinguaIgnota-ORGDD"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/809d72079cab6fe339709ac3750e5559068d9a2e/original/orgdd-cover.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a>The new <a contents="Lingua Ignota" data-link-label="" data-link-type="url" href="https://sargenthouse.com/lingua-ignota">Lingua Ignota</a> single “O RUTHLESS GREAT DIVINE DIRECTOR" is now available on all streaming services. This is the first track Sargent House has released for Lingua Ignota. Listen to the song here: <a contents="https://smarturl.it/LinguaIgnota-ORGDD" data-link-label="" data-link-type="url" href="https://smarturl.it/LinguaIgnota-ORGDD">https://smarturl.it/LinguaIgnota-ORGDD</a></p>
<p>“O RUTHLESS GREAT DIVINE DIRECTOR" both addresses and embodies the hypocrite and the false prophet. The sanctimonious scene police, the friend or community who will turn away or against when things get hard, fear mongering and pervasive misinformation. It was a great pleasure to have Greg Fox’s incredible talent on this song, and to work with Seth Manchester again at the console. “ - Kristin Hayter</p>Sargent Housetag:www.sargenthouse.com,2005:Post/62615582020-03-25T10:39:36-07:002020-03-25T10:42:00-07:00New Single “O RUTHLESS GREAT DIVINE DIRECTOR" Out on Adult Swim<p><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/122782547cdbe116c3dbc2d3def051ed58594bbb/original/20-lingua-ignota.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>NEW Lingua Ignota single out today via <a contents="Adultswim" data-link-label="" data-link-type="url" href="https://www.adultswim.com/music/singles/">Adultswim</a> // available on all streaming services tomorrow, March 26.</p>
<p>“O RUTHLESS GREAT DIVINE DIRECTOR" both addresses and embodies the hypocrite and the false prophet. The sanctimonious scene police, the friend or community who will turn away or against when things get hard, fear mongering and pervasive misinformation. It was a great pleasure to have Greg Fox’s incredible talent on this song, and to work with Seth Manchester again at the console. “ - Kristin Hayter </p>
<p style="text-align: center;"><iframe frameborder="0" height="405" id="music-frame" src="https://as-embed-player.adultswim.com/singles/2019/?trackid=20" width="405"></iframe></p>Sargent Housetag:www.sargenthouse.com,2005:Post/61398552020-01-21T11:30:26-08:002020-03-26T13:56:12-07:00Lingua Ignota + Alexis Marshall at Le Poisson Rough NY<p><a contents="" data-link-label="" data-link-type="url" href="https://www.eventbrite.com/e/lingua-ignota-alexis-marshall-palm-sunday-2020-tickets-90684791653?aff=aff0bandsintown&appId=wf_yvathnvtabgn.arg&comeFrom=242&artist_event_id=101987655" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/fc61ad7a85b073bab40be0b95ff58061d766e8d7/original/lepoisson.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a>Lingua Ignota announces first non-festival show of 2020 at Le Poisson Rouge NY with special guest Alexis Marshall on Palm Sunday – April 5. Tickets <a contents="HERE" data-link-label="" data-link-type="url" href="https://www.eventbrite.com/e/lingua-ignota-alexis-marshall-palm-sunday-2020-tickets-90684791653?aff=aff0bandsintown&appId=wf_yvathnvtabgn.arg&comeFrom=242&artist_event_id=101987655" target="_blank">HERE</a><br><br><strong>UPDATE: Show postponed for July 9th, 2020</strong></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957312019-12-20T15:45:52-08:002020-01-13T11:27:42-08:00"CALIGULA" on CVLT Nation's Top Records of 2019<p><a contents="" data-link-label="" data-link-type="url" href="https://cvltnation.com/top-records-of-2019/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/dfe360adc846f7a736247cf1866f57591a1b1258/original/cvlt-nation-logo-site-header-600.png/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_" /></a></p>
<p style="text-align: center;"><span class="font_xl"><strong>CVLT NATION’S TOP RECORDS OF 2019</strong></span></p>
<p style="text-align: center;"><span class="font_large">THREE –<strong> <a contents="LINGUA IGNOTA" data-link-label="Lingua Ignota" data-link-type="page" href="https://sargenthouse.com/lingua-ignota" target="_blank">LINGUA IGNOTA</a>, <em>CALIGULA </em></strong></span></p>
<p>There are very few artists whose music can reach into my chest like an 80s movie shaman and pull my beating, bleeding heart out of it. I have witnessed LINGUA IGNOTA live, and I can confirm that she had me in tears; my whole body in chills; my ribcage crushed with the power of her voice. She opened the black void where I push all my pain and released it to the universe. This is the catharsis I need.</p>
<p style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2248763603/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; width: 100%; height: 120px;">CALIGULA by LINGUA IGNOTA</iframe><br><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/4729bbcb1173badb32aadc409e14d7c99eaa9cc2/original/a3985780561-10.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p><a contents="Via CVLT Nation" data-link-label="" data-link-type="url" href="https://cvltnation.com/top-records-of-2019/" target="_blank"><em>Via CVLT Nation</em></a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957322019-12-20T13:09:07-08:002021-06-16T02:56:44-07:00Lingua Ignota on Exclaim!'s 10 Best Experimental Music Figured of 2019<p><a contents="" data-link-label="" data-link-type="url" href="https://exclaim.ca/music/article/exclaim_s_10_best_experimental_music_figures_of_2019?&utm_source=TwitterEDC&utm_medium=referral&utm_campaign=EDCTwitter&fbclid=IwAR3VakrTaj9H4RRUY81XhzyE2V0TEvaTYp9jwjCKKMrPfTTfFq8C4VVvX-8" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/f5dabecce49e5e3df81cc3142b33b2160448b255/original/exclaim-logo.png/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_" /></a><a contents="" data-link-label="" data-link-type="url" href="https://exclaim.ca/music/article/exclaim_s_10_best_experimental_music_figures_of_2019?&utm_source=TwitterEDC&utm_medium=referral&utm_campaign=EDCTwitter&fbclid=IwAR3VakrTaj9H4RRUY81XhzyE2V0TEvaTYp9jwjCKKMrPfTTfFq8C4VVvX-8" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/0cc1f270943eae4299392cbd4271b801a4556d57/original/screen-shot-2019-12-20-at-1-01-30-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/f5c38a1cd1074c94c72479440de74d828776ca45/original/screen-shot-2019-12-20-at-1-04-14-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></a></p>
<p style="text-align: center;"><strong><span class="font_xl">LINGUA IGNOTA</span></strong></p>
<p>Harrowing. Visceral. Cathartic. These are just some of the terms that can be used to describe Kristin Hayter's work under the Lingua Ignota name. A multi-instrumentalist and intensely captivating performer, her newest record,<em> Caligula</em>, is an uncompromising, arresting portrait of vengeance and survival. Showing beauty and horror in equal parts, the live facet of Lingua Ignota is an intimate and intense experience and one that is undeniably fitting to the material it conveys, with vivid video projections and a strong sense of community empowerment. The classical influences (especially her dynamic vocal range, which can express some of the darkest thoughts in a beautiful vibrato) underlie a brutality and noise factor which forces you to confront the demons she's seen. These are songs that Hayter describes as "survivor anthems," and a reclaiming of a long-occupied male space into something necessary and truly vital. Lingua Ignota is committed to her work, and it's clear her presence in the experimental world is one of strength and determination. – <em>Josh Weinberg<br><br><a contents="Full feature via exclaim!" data-link-label="" data-link-type="url" href="https://exclaim.ca/music/article/exclaim_s_10_best_experimental_music_figures_of_2019?&utm_source=TwitterEDC&utm_medium=referral&utm_campaign=EDCTwitter&fbclid=IwAR3VakrTaj9H4RRUY81XhzyE2V0TEvaTYp9jwjCKKMrPfTTfFq8C4VVvX-8" target="_blank">Full feature via exclaim!</a></em></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957332019-12-12T16:01:31-08:002020-01-13T11:27:43-08:00Kristin Hayter Interview // Document Journal<p><a contents="" data-link-label="" data-link-type="url" href="https://www.documentjournal.com/2019/12/with-visceral-rage-lingua-ignota-ignites-a-new-form-of-healing-and-empowerment-on-her-album-caligula/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/a1e3a2030ff050121b08435b0c6b8c6ad8f1e3f6/original/screen-shot-2019-12-11-at-5-53-45-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></a></p>
<p><a contents="via Document Journal" data-link-label="" data-link-type="url" href="https://www.documentjournal.com/2019/12/with-visceral-rage-lingua-ignota-ignites-a-new-form-of-healing-and-empowerment-on-her-album-caligula/" target="_blank"><em><span class="font_regular">via Document Journal</span></em></a></p>
<h3><span class="font_large">After formal and informal justice failed her, the artist expresses her pain from past abusive relationships with expansive, uncensored metal. </span></h3>
<p>“Survivors don’t really get to explore many emotions in healing,” says singer and musician Kristin Hayter, who records under the name Lingua Ignota. “The healing model is be gentle with everything and to be gentle with yourself. It’s about forgiveness and kindness. And that wasn’t the model that I wanted to explore.” </p>
<p>Hayter’s music is neither gentle nor forgiving. Her newest album,<em> Caligula</em> (Profound Lore), is a withering 67-minute cry of rage and pain, mixing metal trudge, noise feedback, and agonized quasi-classical vocals to confront the singer’s history of domestic abuse. It’s intense, exhausting, and bleakly beautiful—a record of brutal music addressing brutality and trauma. </p><!-- more -->
<p>Noise and metal are genres often associated with male performers and male aggression. More, Hayter’s two abusive relationships, over seven years, were both with men in the extreme music scene. Hayter loves the music too, though, and as she considered making an album about her abuse, she “started looking at the things that I found effective in these genres. And a lot of it is, as effective as it is, is posturing. It’s fantasy violence or fantasy aggression. And I wanted to take that and dramatically re-contextualize it in terms of something that I thought was real, which was survival. I found that extreme music, and that aggression was very helpful not only in conveying my own feelings of despair, and aggression and rage, but also in expressing the actual feeling of having violence done to you.” </p>
<p>Instead of the demons, Vikings, corpses, and theatrical gore which burst and ooze from metal lyrics, <em>Caligula</em>‘s songs are sad, introspective, and personal. The last track on the album, “I Am the Beast,” starts out as a quiet dirge framed by classical harpsichord, with Hayter singing a multi-tracked plainchant lament which vibrates with grief. “All I want is boundless love,” she intones. “All I know is violence. Violence. Violence.” Then the track is crushed beneath a slow, serrated wave of doom metal, with Hayter howling like a wolf being tortured to death. </p>
<p>The enormous noise on the track can be heard as an expression of Hayter’s own anger, Or it could be the trauma taking her apart. Abuser, abused, and abuse are all wrapped around each other in an indistinguishable roar. In the last minute of the song, a melody begins to rise out of the static feedback, moving towards a possible clear resolution. But that resolution never comes; the tune breaks off abruptly. “It abandons you at the end,” Hayter says. “It just leaves you in silence.” </p>
<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="lpDS-ITW3dg" data-video-thumb-url="https://img.youtube.com/vi/lpDS-ITW3dg/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/lpDS-ITW3dg?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="360" width="600" allowfullscreen="true"></iframe></p>
<p>That lack of closure reflects Hayter’s ugly experience with her abusers. After her first relationship ended, she says, “I tried to pursue accountability via the court system. And it didn’t work out well for me.” With her second abuser, she spoke out to the DIY arts community in Portland. “And that didn’t work out well for me either. Or for anyone really.” After formal and informal justice both failed, Hayter decided that “there was no other way for me to process my experiences” other than through her music. “I had a lot of difficulty finding the healing that I needed in the real world,” she says. “So I tried to create it in my art, I think.” </p>
<p>Even in the art, though, healing is messy, contingent, and difficult to express or resolve. On “Sorrow! Sorrow! Sorrow!” Hayter sings the title phrase with a yodeling, ululating technique inspired by throat singing, creating odd microtones. She sounds like she’s simultaneously being strangled and turning into an alien. “I read a review where someone said there was an error in production,” she laughed. “They said I needed to go see a vocal coach.” The sound is broken and strange, capturing the way trauma alienates you from yourself. </p>
<p>The song “May Failure Be Your Noose” captures a sense of wrongness in a different way. It’s based on the text of imprecatory songs from the Bible. As a Catholic, Hayter says, “we weren’t supposed to pray them, because they’re so nasty. You’re calling on God to intercede and exact vengeance on your behalf.” The song’s lyrics also include some of the most painful things her abusers had said to her, sung over a pretty piano rock ballad accompaniment. </p>
<p>Who will love you if I don’t? <br>Who will fuck you if I won’t? <br>May failure be a garment to hang around you <br>May failure be a belt with which to gird you. <br>May failure be a noose with which to hang you. </p>
<p>The lyrics could be Hayter condemning her abusers to torment, or it could be an account of what her abusers did to her. “It creates a destabilizing perspective,” she says. </p>
<p>The name Lingua Ignota is latin for “unknown language;” it was the term Hildegaard of Bingen used to describe an invented language she used for mystical purposes. For Hayter, the name refers to the effort to speak what can’t be spoken. “Trauma can’t be expressed. It can’t be verbalized. It’s beyond expression; we don’t have language for trauma,” Hayter told me. “So taking this postmodern approach, and putting all of those things together, is an attempt to express something that cannot be expressed, or that we don’t necessarily have language for. That’s what I’m trying to do.” </p>
<p>Confessional healing narratives about trauma and metal lyrics often are both, in their way, about empowerment. You’ve overcome your past and are stronger, or you’re a monster trailing hellfire and smiting the earth. Hayter draws from these traditions, and others, to speak a more conflicted truth about how empowerment and justice are elusive, pain persists, and things don’t necessarily get better. Caligula hurts, and won’t let you turn away from the hurt. At the heart of the noise and of Hayter’s lovely, thoughtful compositions sit the bleak lines from the song “Butcher of the World:” “In return for my love/He strikes me down.” </p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957342019-12-11T11:59:38-08:002020-01-13T11:27:43-08:00"Caligula" #1 On PopMatters Top 15 Experimental Albums Of 2019 & More<p><a contents="" data-link-label="" data-link-type="url" href="https://www.popmatters.com/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/67fc77cfb19cbea039025c023c5b77cb5e7b9c0d/original/popmatters-logo.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></a><a contents="" data-link-label="" data-link-type="url" href="https://www.popmatters.com/best-experimental-albums-2019-2641526370.html?rebelltitem=16#rebelltitem16" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/1f6350b1bb23ee2c3a58077b8304793d1c597d26/original/screen-shot-2019-12-11-at-2-26-26-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></a><a contents="" data-link-label="" data-link-type="url" href="https://www.popmatters.com/best-albums-of-2019-2641547956.html" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/4729bbcb1173badb32aadc409e14d7c99eaa9cc2/original/a3985780561-10.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a></p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://www.popmatters.com/best-experimental-albums-2019-2641526370.html?rebelltitem=16#rebelltitem16" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/4b6f8095b913a674386535204ae4ea8cb68eceaf/original/screen-shot-2019-12-11-at-2-27-29-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></a></p>
<p>(Full feature via<em> <a contents="PopMatters" data-link-label="" data-link-type="url" href="https://www.popmatters.com/best-experimental-albums-2019-2641526370.html?rebelltitem=16#rebelltitem16" target="_blank">PopMatters</a>)</em></p>
<p>Few musicians have the power to send you to such dark realms as <a contents="Lingua Ignota" data-link-label="Lingua Ignota" data-link-type="page" href="https://linguaignota.net/lingua-ignota" target="_blank">Lingua Ignota</a> does. Lingua Ignota (Latin for "unknown language") channels personal experience—of violence, trauma, rape—to transmit all this darkness into our ears. <em>CALIGULA</em>, her challenging third album, spreads far and wide across the experimental music spectrum. Neoclassical inclinations of the artist's background give the work its winged, ethereal form, while extreme applications of harsh noise drag it to the pits of hell. </p>
<p>We enter her chthonic world with "FAITHFUL SERVANT FRIEND OF CHRIST", where clear vocals soar through the endless corridors. As we descend deeper, she bellows and screams through the blackened power electronics of "BUTCHER OF THE WORLD" and the funeral death-doom of "I AM THE BEAST". No matter what form Lingua Ignota takes, <em>CALIGULA</em> yields a sense of awe and wonder by connecting with the darkest of places. To listen is to stare straight into the abyss. - Spyros Stasis<br> </p><!-- more -->
<h3 style="text-align: center;"><strong><span class="font_large"><a contents="" data-link-label="" data-link-type="url" href="https://www.popmatters.com/best-albums-of-2019-2641547956.html?rebelltitem=47#rebelltitem47" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/34f5049033352b0f17403ff06905f29159144130/original/screen-shot-2019-12-11-at-2-32-18-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></a>24. Lingua Ignota - CALIGULA [Profound Lore]</span></strong></h3>
<p>The term "lingua ignota" was coined for the language constructed by Saint Hildegard of Bingen, believed initially to be used for mystical purposes but was actually used simply for secretive purposes. But the idea of an unknown language, one that exists but might not be understood, is a much deeper philosophical issue. Some concepts and ideas cannot be appropriately delivered through the spoken or written word. Kristin Hayter has always tempered with extreme subject matters, stories of abuse and violence. And while words and phrases can be used to detail all these terrifying situations, there needs to be an additional language to navigate these on an emotive level. </p>
<p><em>CALIGULA</em> is an exemplary work of combining the lyrical with the extreme. Hayter draws upon her choral background and neo-classical influences, while at the same time sourcing all the energy of noise, power electronics, and dark ambient to construct the maze-like anatomy of her work. Beautiful vocal arrangements and distorted screams are laid upon majestic backgrounds and excruciating, razor-sharp synthesizers to produce one of the darkest works of this year. - Spyros Stasis</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957352019-11-28T13:24:51-08:002020-01-13T11:27:43-08:00Lingua Ignota at Roskilde Festival 2020<p><a contents="" data-link-label="" data-link-type="url" href="https://www.roskilde-festival.dk/en/years/2020/acts/lingua-ignota/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/330dd9e7fc867ff0a15989d96200948cf3d9a0e8/original/77018476-2365068440269374-8564776168228651008-o.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a></p>
<p><a contents="Lingua Ignota" data-link-label="" data-link-type="url" href="http://linguaignota.net" target="_blank">Lingua Ignota</a> has been announced to perform at Roskilde Festival 2020 on July 4th in Denmark after her artist residency at Roadburn Festival. </p>
<p>All info: <a contents="roskilde-festival.dk/en/" data-link-label="" data-link-type="url" href="http://roskilde-festival.dk/en/" target="_blank">roskilde-festival.dk/en/</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957362019-11-22T15:07:43-08:002020-01-13T11:27:43-08:00'CALIGULA' on Decibel’s Top 40 Albums of 2019<p><a contents="" data-link-label="" data-link-type="url" href="https://www.decibelmagazine.com/2019/11/12/spoiler-here-are-decibels-top-40-albums-of-2019/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/e93d077898a459bd218e87c6d6fae26a7118340f/original/screen-shot-2019-11-22-at-3-04-08-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></a>Full Top 40 Albums of 2019 list by Decibel <a contents="HERE" data-link-label="" data-link-type="url" href="https://www.decibelmagazine.com/2019/11/12/spoiler-here-are-decibels-top-40-albums-of-2019/" target="_blank">HERE</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957372019-11-22T14:57:13-08:002020-01-13T11:27:44-08:00'CALIGULA' on The 25 Best Metal Albums of 2019 // Treble<p><a contents="" data-link-label="" data-link-type="url" href="https://www.treblezine.com/the-25-best-metal-albums-of-2019/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/72f4db6a260cbbd1ea92851a809d81929d51cd0c/original/screen-shot-2019-11-22-at-2-48-50-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/4729bbcb1173badb32aadc409e14d7c99eaa9cc2/original/a3985780561-10.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a></p>
<p>8. Lingua Ignota – <em>Caligula </em></p>
<p>Extreme metal is boundless, and yet it has limitations—a paradox that might be difficult to wrap one’s head around, much as my high school physics teacher’s similar statement about the shape of the known universe made my brain briefly malfunction. You can keep getting more and more extreme, but no matter how fast or loud the music is, the intensity has a ceiling. Which is why artists like Kristin Hayter, better known as Lingua Ignota, are all the more necessary in the realm of extreme music. Caligula isn’t in the strictest terms a metal album—it’s something more like industrial operatic darkwave, and the opening strings of “Faithful Servant Friend of Christ” are closer to Angel Olsen’s new album than Tomb Mold’s. But there is perhaps no listening experience more harrowing in 2019. A sprawling and ambitious depiction and examination of depravity, abuse and violence, Caligula contrasts its most wrenching extremes with beauty and grace, then pulls out the rug via fire-breathing screams and crunching moments of incendiary distortion. I’m not necessarily saying that an album of piano-driven avant garde dirges—if that even really gets at the heart of what Hayter accomplishes here—is the heaviest album of the year. But, well… <br>Stream: <a contents="Bandcamp" data-link-label="" data-link-type="url" href="https://linguaignota.bandcamp.com/album/caligula" target="_blank">Bandcamp</a></p>
<p><a contents="Full list via Treble" data-link-label="" data-link-type="url" href="https://www.treblezine.com/the-25-best-metal-albums-of-2019/" target="_blank"><em>Full list via Treble</em></a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957382019-11-07T13:18:56-08:002020-01-13T11:27:44-08:00LINGUA IGNOTA // LEVITATION INTERVIEW WITH AUSTIN CHRONICLE<p><a contents="" data-link-label="" data-link-type="url" href="https://www.austinchronicle.com/home/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/de0918630bc55c180ca37d9a0dcccaca09252ec2/original/austin.png/!!/b:W10=.png" class="size_l justify_center border_" /></a></p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://www.austinchronicle.com/daily/music/2019-11-07/levitation-interview-lingua-ignota/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/c94de4f7a0ba89972efd7dc48a19f18886c260a7/original/lingua.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a></p>
<p><em>Via <a contents="THE AUSTIN CHRONICLE" data-link-label="" data-link-type="url" href="https://www.austinchronicle.com/" target="_blank">THE AUSTIN CHRONICLE</a></em></p>
<p>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. </p>
<p>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. </p>
<p>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. </p>
<p>Read the full interview <a contents="HERE" data-link-label="" data-link-type="url" href="https://www.austinchronicle.com/daily/music/2019-11-07/levitation-interview-lingua-ignota/" target="_blank">HERE</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957392019-10-30T16:59:41-07:002020-01-13T11:27:44-08:00CALIGULA DROPPED LIKE A BOMB! LIVE IN MANCHESTER // CVLT Nation<p><a contents="" data-link-label="" data-link-type="url" href="https://cvltnation.com/lingua-ignota-live-in-manchester" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/dfe360adc846f7a736247cf1866f57591a1b1258/original/cvlt-nation-logo-site-header-600.png/!!/undefined/b:W1sic2l6ZSIsImxhcmdlIl1d.png" class="size_l justify_center border_" /></a><a contents="" data-link-label="" data-link-type="url" href="https://cvltnation.com/lingua-ignota-live-in-manchester" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/49619743571da68081208bcf41f925d269a12d6c/original/screen-shot-2019-10-30-at-4-53-13-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/c1de577d4639cd7f30741671af44c7a4e634892b/original/screen-shot-2019-10-30-at-4-55-06-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></a><em>Full feature on <a contents="CVLT Nation" data-link-label="" data-link-type="url" href="https://cvltnation.com/lingua-ignota-live-in-manchester" target="_blank">CVLT Nation</a></em><br><br>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 <a contents="Lingua Ignota" data-link-label="" data-link-type="url" href="http://facebook.com/linguaignotamusic" target="_blank">Lingua Ignota</a>, who spawned into the scene in 2017 with two self-released records in <em>Let the Evils of His Own Lips Cover Him</em> and <em>All Bitches Die</em>. 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 <em>CALIGULA </em>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.</p>
<p><span class="font_small">Photos: Al Overdrive from Lingua Ignota’s London show</span></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957402019-10-22T14:07:02-07:002020-01-13T11:27:45-08:00Interview on Stuart Maconie's Freak Zone // BBC Sounds<p><a contents="" data-link-label="" data-link-type="url" href="https://www.bbc.co.uk/sounds/play/m0009jxf?fbclid=IwAR0uWNT72uEyjkm0igsz9Rmele1AwFgP0WtUv3JihoEwZrWjSC9oXpRdtP0" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/7dad419f8e9fef4837bee9b8e5d92493e43b7698/original/screen-shot-2019-10-22-at-11-41-56-am.png/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_" /></a></p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://www.bbc.co.uk/sounds/play/m0009jxf?fbclid=IwAR0uWNT72uEyjkm0igsz9Rmele1AwFgP0WtUv3JihoEwZrWjSC9oXpRdtP0" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/2002a50af93e31cad0752d8ef5aa8f56151c3120/original/safe-image.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a></p>
<p>listen via <a contents="BBC Sounds" data-link-label="" data-link-type="url" href="https://www.bbc.co.uk/sounds/play/m0009jxf?fbclid=IwAR0uWNT72uEyjkm0igsz9Rmele1AwFgP0WtUv3JihoEwZrWjSC9oXpRdtP0" target="_blank">BBC Sounds</a></p>
<p>Stuart explores the music of <a contents="Lingua Ignota" data-link-label="Lingua Ignota" data-link-type="page" href="https://sargenthouse.com/lingua-ignota" target="_blank">Lingua Ignota</a>, a formidable and singular new talent. She combines ecstatic liturgical music with industrial noise and a powerful virtuosic voice.</p>
<p>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</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957412019-10-08T08:00:00-07:002020-01-13T11:27:45-08:00Lingua Ignota Live In Chicago December 21st, 2019<p><a contents="" data-link-label="" data-link-type="url" href="http://eventbrite.com/e/ligua-ignota-thalia-hall-tickets-75731812891"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/619cdc99390a0f0a944b217d3ce73f0c6843ae54/original/lingua-ignota-chicago.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a></p>
<p><a contents="Lingua Ignota" data-link-label="" data-link-type="url" href="https://linguaignota.net/" target="_blank">Lingua Ignota</a> will be playing an exclusive show in Chicago on December 21st at <a contents="Thalia Hall" data-link-label="" data-link-type="url" href="https://www.thaliahallchicago.com/" target="_blank">Thalia Hall</a>. Tickets on sale Thursday October 10th <a contents="HERE" data-link-label="" data-link-type="url" href="https://linguaignota.net/" target="_blank">HERE</a>.</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957422019-09-23T12:21:02-07:002020-01-13T11:27:45-08:00Lingua Ingota Channels The Spirit Of Kathy Acker Live // The Quietus<p><a contents="" data-link-label="" data-link-type="url" href="https://thequietus.com/articles/27150-lingua-ignota-live-review-kathy-acker"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/1ed3da97bde269437ee2d29b6979c0eecfd4f228/original/the-quietus.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_none" alt="" /></a></p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://thequietus.com/articles/27150-lingua-ignota-live-review-kathy-acker" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/ad41eef316af88d6e8b8b25fd8c3091d380a0e97/original/lingua.png/!!/b:W10=.png" class="size_l justify_center border_" /></a></p>
<p>"As he pulls hair out of the back of his head onto the sheet metal some stones blow up </p>
<p>"My mother is the most beautiful woman in the world.” </p>
<p>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. </p>
<p>“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.” </p>
<p> </p>
<p><em>Read the full article and view more photos <a contents="HERE" data-link-label="" data-link-type="url" href="https://thequietus.com/articles/27150-lingua-ignota-live-review-kathy-acker">HERE</a>.</em></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957432019-09-17T12:36:54-07:002020-01-13T11:27:46-08:00Live Review + Gallery: Lingua Ignota at Basilica Soundscape // The Collaborative<p><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/8308ea9c67bb4a6e6be2c53f74e28ce76a03113c/original/collaborativelogo-webbanner.png/!!/b:W10=.png" class="size_l justify_center border_" /></p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://linguaignota.net/"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/21891b36eb492fddab2767395eff13c6bbdf53df/original/lingua.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a></p>
<p>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. <a contents="Kristin Hayter (AKA) Lingua Ignota" data-link-label="" data-link-type="url" href="https://linguaignota.net/" target="_blank">Kristin Hayter (AKA) Lingua Ignota</a> paced back and forth, took deep breaths, her eyes widened as if in a trance. </p>
<p>She’d canceled the previous night’s show having lost her voice and she barely spoke above a whisper in an interview with <em>The Collaborative</em> 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. </p>
<p>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. </p>
<p>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.</p>
<p><em>MORE PHOTOS <a contents="HERE" data-link-label="" data-link-type="url" href="http://collaborativemagazine.org/2019/09/16/gallery-lingua-ignota-at-basilica-soundscape/">HERE</a> via The Collaborative</em></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957442019-09-04T11:30:25-07:002020-01-13T11:27:46-08:00Lingua Ignota Announced as Artist In Residence // Roadburn 2020<p><a contents="" data-link-label="" data-link-type="url" href="https://roadburn.com" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/99a8bcde17c568f2d9b247732cbd57647648bf5e/original/screen-shot-2019-09-04-at-11-20-08-am.png/!!/b:W10=.png" class="size_l justify_center border_" /><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/92824e18ad7e93a20988f0abfd2904a9a9ffb0fd/original/screen-shot-2019-09-04-at-11-21-33-am.png/!!/b:W10=.png" class="size_l justify_center border_" /></a></p>
<p>Delighted to announce <a contents="Lingua Ignota" data-link-label="Lingua Ignota" data-link-type="page" href="https://sargenthouse.com/lingua-ignota" target="_blank">Lingua Ignota</a> as Artist In Residence at <a contents="Roadburn Festival 2020" data-link-label="" data-link-type="url" href="https://roadburn.com/" target="_blank">Roadburn Festival 2020</a>. She will play 4 sets – <em>Caligula</em> in full, <em>All Bitches Die</em> in full, a covers set & a set in collaboration with Full of Hell.</p>
<p>All tour dates //<a contents="linguaignota.net/tours" data-link-label="" data-link-type="url" href="http://linguaignota.net/tours" target="_blank"> linguaignota.net/tours</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957452019-08-19T11:41:52-07:002020-01-13T11:27:46-08:00Blissful Anguish: A Conversation with Lingua Ignota // Heaviest of Art<p><a contents="" data-link-label="" data-link-type="url" href="https://www.heaviestofart.com/post/blissful-anguish-a-conversation-with-lingua-ignota" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/2334959e7f84347a3b8221b307444bbd7c36f688/original/screen-shot-2019-08-19-at-11-14-11-am.png/!!/b:W10=.png" class="size_l justify_center border_" /></a><a contents="" data-link-label="" data-link-type="url" href="https://www.heaviestofart.com/post/blissful-anguish-a-conversation-with-lingua-ignota" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/fde2bc68098731e782f091f0d2cb07e49834bf7b/original/96b5ff-665af15b07074efa8068ac33231dcfdb-mv2.png/!!/b:W10=.png" class="size_l justify_center border_" /></a></p>
<p><a contents="(via Heaviest of Art)" data-link-label="" data-link-type="url" href="https://www.heaviestofart.com/post/blissful-anguish-a-conversation-with-lingua-ignota" target="_blank">(via Heaviest of Art)</a><br><br>Beneath the glitter and gold of <a contents="LINGUA IGNOTA" data-link-label="" data-link-type="url" href="http://linguaignota.net" target="_blank">LINGUA IGNOTA</a>'s <em>Caligula</em> 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. <em>Caligula</em> may not tell you what you want to hear, but it'll tell you what you need to hear. </p>
<p>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. </p>
<p>Heaviest of Art had the privilege of engaging in conversation with Kristin Hayter, who dives deeper into the standout <em>Caligula</em>:</p><!-- more -->
<hr><p><strong>As the latin definition suggests, Lingua Ignota is an unknown language, a language you’ve crafted and have helped define through personal hardships and emotional investment. However, the language constantly changes with every subsequent record and refuses to be categorized. With that said, what was the transition from <em>All Bitches Die</em> to <em>Caligula</em> like for you personally? </strong></p>
<p><em>All Bitches Die</em> was written and recorded in a state of isolation mostly, and still stuck in one of the final bad situations in a serious of bad situations. When I listen to All Bitches Die today, I hear a lot of distance in it, both sonically (reverb-saturated, dark) and conceptually — it’s far from me. <em>CALIGULA</em> is much more aggressive in a lot of ways I think, and looks back on being stuck, invalidated, and alone from a different position. It is emotionally much more; simultaneously focused and unwieldy, and even though there are many references and sources in it, I am extremely close and present. </p>
<p><strong><em>Caligula</em>, like your other works, is not an easy listen and will be felt differently across those who engage with it. What, if anything, do you intend audiences to grasp onto after listening to the record? </strong></p>
<p><em>CALIGULA</em> is at its essence cyclical, and I wanted people to understand the psychosis that accompanies being stuck in abuse, and to be taken into all of its vagaries and vicissitudes — to be minimized, lied to, blamed, mocked, sneered at, raged at, profoundly loved, obsessed over, crushed, seduced, threatened, abandoned. </p>
<p><strong>Given that your music is very intimately composed, did your approach change at all by bringing Lee Buford, Dylan Walker and other collaborators on board? </strong></p>
<p>I knew what I wanted from those two scoundrels, who are like brothers to me. Lee has a fairly recognizable drumming style I think, it’s hard and direct and primitive, and I wanted that on the record. Dylan’s voice is CRAZY and I wanted it next to mine, we roam close to the same timbre in our harsh modes sometimes and I like that. Otherwise having the people I had on <em>CALIGULA</em> was a little like having my close community present, pretty much everyone there is really important to me. </p>
<p><strong>The record is representative of an evolution, which has come alongside your musical output. Who are you now with <em>Caligula</em> compared to who you were with <em>Let The Evil Of His Own Lips Cover Him</em>? </strong></p>
<p>The difference is pretty astonishing honestly. I will probably always be broken, but I am much more of A Person now than I was a few years ago. I had been completely burned down and had to remake myself anew, and so you are watching an identity form itself. I went from situations where I was being totally controlled to total autonomy, and it seems crazy but thinking about stuff like — what colors do I like? What clothes can I wear? Has been pretty huge for me. </p>
<p><strong>What do you attribute this evolution to? </strong></p>
<p>Freedom. </p>
<p><strong>As you’ve discussed before, the story of Aileen Wuornos appears throughout your work for the case study it provides on the failures of the current systems at play for women. In Disease of Men, you allow Wuornos’ voice to resonate throughout, whereas in If The Poison Won’t Take You My Dogs Will, you hold a conversation with her through striking song, elaborating on the cruelties she endured and offering yourself as an ally. How did you approach this track? </strong></p>
<p>Aileen is one of my world-building motifs, she appears throughout the catalog so far and I’m hoping she’ll stay. POISON is partially meant to evoke the ambience of the Jonestown deathtape and Jim Jones’ monologue. He says to one of his acolytes who is questioning the necessity of their imminent suicide: “I’m going to tell you Christine, without me life has no meaning. I’m the best friend you’ll ever have.” I wanted this to be the only moment on the record where a person is directly addressed, and I originally had my own name there, but instead I gave it to Aileen because I wanted to parallel her story and also how I have felt sometimes — that the only way through is out. </p>
<p><strong><em>Caligula</em> deviates from the somber, black and white themes present on the covers for <em>All Bitches Die</em> and <em>Let The Evil Of His Own Lips Cover Him</em>. Would you say this marks a new era for Kristin Hayter? Or why go in this particular direction? </strong></p>
<p>The first two records, as far as their artwork is concerned, are intentionally influenced by the Xerox aesthetic of noise and certain breeds of metal. <em>CALIGULA</em> is far more postmodern in its approach, far more fragmented, and very elaborate. I wanted the aesthetic accompanying the record to have art historical context, to very clearly say, “I am here to do my own thing.” I wanted it to have fairly elaborate art historical context, to explore decadence, decay, excess, corruption, deceit. The chaos and entropy there, making a bunch of trash beautiful including myself, is as much about personal trauma as a society in decline. </p>
<p><strong>Album covers serves as a proper introduction to the body of music that follows and let’s just say you’ll be scaring a message into many behind the gold chains and glitter on Caligula. Are there any album covers or illustrations that have ever stood out to you as impactful or as inspirational even? </strong></p>
<p>I wanted the cover to be very very unlike any other cover you might see in metal, noise, industrial music, any extreme music zone. I really like a bold cover. Honestly I think less of any one cover in particular, and more how a cover signifies development within the oeuvre. I think a lot about my friend Sam McKinlay’s work, his project The Rita has been going for decades and the aesthetic is consistent throughout — black and white, sans serif text, bold design, the only thing that changes really is the topic of his work. That’s commitment. </p>
<p><strong>Although your music isn’t metal by definition, you have the overwhelming support of that particular community, blurring the lines of what one feels is appropriate to enjoy despite the elitist nature of the genre. Why do you believe that is? </strong></p>
<p>I truly have no idea. I am incredibly grateful for the support though. Perhaps they can tell I am also a metal nerd. </p>
<p><strong>It’s common knowledge now that your music in the live setting is tear inducing, which can only mean it’s relatable and powerful enough to strike a chord in the hearts of many. What does it mean to you as an artist to have this kind of impact? </strong></p>
<p>It’s insane. It really overwhelms me. To have the respect and trust of an audience to an extent where we are all in the same emotional space together is really really special. </p>
<p><strong>With your upcoming tours fast approaching, how difficult is it to translate the anger of <em>Caligula</em> onto the live performance? </strong></p>
<p>I anticipate it’s gonna be weird to strike a balance between sustainable performance of this music and the true intensity it deserves. I’m up for the challenge but I can’t actually die this time, or injure myself to the extent that I have to cancel shows and disappoint people. Once again it’s just me, so I am entirely responsible for carrying it, which makes me nervous. It will be fine. I hope. </p>
<p><strong>Seeing as you endure physical pain and invest an immense amount of heart into each hour or so performance, how much of this takes a toll on you? And how do you relieve this toll, if at all? </strong></p>
<p>It’s a lot. I often don’t realize how much it is as it is happening, I think I’m kind of dissociating or acting out of adrenaline. It might take a few days for things to settle in as reality, and when you repeat that night after night, it gets hard. The past several tours I’ve done, I’ve had some sort of physical or emotional breakdown. A thing I do to alleviate this is only participate in very light hearted, easy stuff when I’m not on tour. </p>
<p>The past several months, I’ve pretty much exclusively been resting because I injured my brain in the spring, and when I go on the road I don’t read or watch heavy shit, I read and watch mindless trash. I think I read “The Art of Seduction” once on tour, which is horrifying to admit, but I thought it was hilarious — that’s the level I need to operate on to stay up. </p>
<p><strong>I came across your Evil Greed Distro Picks segment with Tristan of Author & Punisher where you picked up Amenra’s “Mass VI”. It’s a debilitating piece of music that encompasses beautiful acoustic passages, transcending the listener. Are there any albums that you feel have a particular emotional effect on you? </strong></p>
<p>Amenra certainly does. I listen to that album often, it always takes me somewhere else. They are mind-blowing. I’ve said this elsewhere I think but they are closer to the realm of spiritual minimalism than metal. Although largely I like to take individual pieces of music out of their album context and make playlists for myself that have a specific effect, which again, is very postmodern and kind of exactly what I do in my own stuff. </p>
<hr><p>Caligula is available now via Profound Lore Records. Order yours <a contents="HERE" data-link-label="" data-link-type="url" href="https://profoundlorerecords.merchtable.com/music/lingua-ignota-caligula-vinyl-2xlp" target="_blank">HERE</a>.</p>
<p><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/8af1b9995e78ffc131d1ae47d9653bc7991990a0/original/96b5ff-66327f459a4246109a94dc39ab723be4-mv2.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957462019-08-13T10:00:00-07:002020-01-13T11:27:46-08:00Lingua Ignota adds West Coast Dates with Daughters<p><a contents="" data-link-label="" data-link-type="url" href="http://linguaignota.net/shows" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/a62025313c958bf9fcebdd6fd4e5b5146c0edf99/original/daughters-pnw-only-admat-dec-2019.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a></p>
<p>Lingua Ignota shows are selling out. Just added three new shows with Daughters to end this years touring. Tickets: <a contents="linguaignota.net/shows" data-link-label="" data-link-type="url" href="http://linguaignota.net/shows%E2" target="_blank">linguaignota.net/shows</a></p><!-- more -->
<p>N AMERICA <br>Sep 09 Chicago, IL @ Empty Bottle <br>Sep 10 Detroit, MI @ Deluxx Fluxx <br>Sep 11 Toronto, ON @ Baby G (SOLD OUT) <br>Sep 12 Montreal, QC @ La Vitrola <br>Sep 13 Providence, RI @ The Columbus Theater <br>Sep 14 Hudson, NY @ Basilica Soundscape <br>Sep 15 Brooklyn, NY @ Public Records (SOLD OUT)<br>Sep 17 Philadelphia, PA @ PhilMOCA <br> <br>EU/UK <br>Sep 26 Brussels, BE @ Centre Tour à Plomb <br>Sep 27 Amsterdam, NL @ de Brakke Grond * <br>Sep 28 Amsterdam, NL @ Paradiso * <br>Sep 30 London, UK @ Oslo <br>Oct 01 Manchester, UK @ Pink Room <br>Oct 02 Bristol, UK @ Rough Trade <br>Oct 04 Lille, FR @ La Malterie <br>Oct 05 Nijmegen, NL @ Soulcrusher Festival <br>Oct 06 Berlin, DE @ Urban Spree <br>Oct 07 Krakow, PL @ Unsound Festival <br>Oct 08 Prague, CZ @ Klub 007 <br>Oct 11 Budapest, HU @ LARM <br>Oct 12 Wien, AT @ Rhiz <br>Oct 13 Leipzig, DE @ Mørtelwerk <br>Oct 14 Mannheim, DE @ Forum Mannheim <br>Oct 16 Milano, IT @ Macao <br>Oct 18 Clermont-Ferrand, FR @ Raymond Bar <br>Oct 19 Paris, FR @ Espace B <br>Oct 20 Menen, BE @ CC De Steiger/ Stadsmuseum * <br> <br>N AMERICA pt. 2 <br>Nov 08 Austin, TX @ Levitation <br>Nov 23 Yucca Valley, CA @ Gadi's Showroom <br>Nov 25 Los Angeles, CA @ Zebulon <br>Nov 26 San Francisco, CA @ Bottom of the Hill <br>Nov 30 Seattle, WA @ Neumos ^ <br>Dec 01 Vancouver, BC @ Rickshaw Theater ^ <br>Dec 02 Portland, OR @ Star Theater ^ </p>
<p>w/ Amenra * <br>w/ Daughters ^</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957472019-08-12T14:08:28-07:002020-01-13T11:27:46-08:00Lingua Ignota 'Up To Date' Playlist // Evil Greed<p><a contents="" data-link-label="" data-link-type="url" href="https://open.spotify.com/playlist/4q64qctPIdfZO8LQxXvaNf?si=CEbuJ0gSQBifPjI-DmwkPQ" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/814d2cc94d1f765e7c0ded5323505b91e18a8c40/original/68666642-2395163443937616-1833409551685124096-n.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a>Kristin Hayter, AKA Lingua Ignota, made a playlist for <a contents="EVIL GREED" data-link-label="" data-link-type="url" href="https://evilgreed.net/collections/lingua-ignota" target="_blank">EVIL GREED</a> of some of her current personal favorite music. Listen on Spotify: <a contents="https://spoti.fi/2YXgHhV" data-link-label="" data-link-type="url" href="https://spoti.fi/2YXgHhV" target="_blank">https://spoti.fi/2YXgHhV</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957482019-08-08T12:14:01-07:002021-05-21T03:03:59-07:00On dismantling systems and processing trauma through art // Creative Independent<p><a contents="" data-link-label="" data-link-type="url" href="https://thecreativeindependent.com/people/musician-lingua-ignota-on-dismantling-systems-and-processing-trauma-through-her-art/?fbclid=IwAR3TnCwEhKG5I5w7vTF4aJQNo-k0uc0bOIX_74dZOImnDyzjQ3A8MJ-omdg" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/4f1d08a2d6a5345187530b19ba65624b6c6d0ba1/original/safe-image.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/d118c48f87cbe0deec54059870bef34c045104d4/original/screen-shot-2019-08-08-at-11-32-11-am.png/!!/b:W10=.png" class="size_l justify_center border_" /></a><br><a contents="(via Creative Independent)" data-link-label="" data-link-type="url" href="https://thecreativeindependent.com/people/musician-lingua-ignota-on-dismantling-systems-and-processing-trauma-through-her-art/?fbclid=IwAR3TnCwEhKG5I5w7vTF4aJQNo-k0uc0bOIX_74dZOImnDyzjQ3A8MJ-omdg" target="_blank">(Interview via Creative Independent)</a></p>
<p>Musician Kristin Hayter, best known as <a contents="Lingua Ignota" data-link-label="Lingua Ignota" data-link-type="page" href="https://sargenthouse.com/lingua-ignota" target="_blank">Lingua Ignota</a>, 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.</p>
<p><strong>How would you describe your artistic philosophy? </strong></p>
<p>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. </p>
<p>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. </p><!-- more -->
<p><strong>“Postmodern” is one of the first terms that would spring to mind when I think of your work. What about that process appeals to you? Why not just make genre music? </strong></p>
<p>I think I’m interested in things beyond what already exists, and I don’t want to make anything that has already been made. But at the same time, I want to use methods that have been proven effective to make something new, and I feel like staying within any one thing or confining myself to any one mode of making things—any one discipline or genre or style or process—is just limiting. I feel like making things should be kind of unlimited. </p>
<p><strong>One can hear all kinds of different styles in your music—noise, classical, even church music. Is there a method with which you piece these styles together, or is it just a matter of whatever seems to work? </strong></p>
<p>I do often have ideas of how I want to layer things or what’s going to go where. It’s all very carefully wrought, generally. Sometimes it is more experimental or just throwing things together and seeing if they work, but generally I try to utilize the context of a genre or a trope. For instance, in noise, a thing that often happens at the end of the set is, I call it “harsh to kill switch,” which is you just end the set without any warning. You just turn everything off and it’s just kind of shocking or a very disorienting moment where everything kind of falls away very quickly. But I like to put that within the context of a different genre or a different style or a different moment. So I like to take things that I think are effective in different genres and accumulate them and have them as sort of a vocabulary that I can cull from. </p>
<p>When I went to school at the Art Institute of Chicago, that was kind of how I was taught to make art. Not so much about refining the craft, but how to think about how art should be made. So I always think about what this particular moment needs to say, and what is the best way to say what needs to be said. </p>
<p><strong>Beyond that, what are the most important things you got out of art school—specifically theories or methods that you apply to Lingua Ignota? </strong></p>
<p>I think that my time at the Art Institute was probably the most valuable time that I’ve had in any kind of pedagogical environment. I learned how to think about art, and I also became very invested in art history, and that was actually one thing that I wanted to go on and study in a Master’s program or a graduate program. I’ve always been very interested in the conceits and vernaculars of different styles, so I was always looking at what defines Impressionism versus Expressionism versus Abstract Expressionism—which are all very different—but at the same time, I really enjoyed that categorization. So I think looking at art history and looking at things that had existed previously and how those things are defined really influenced how I choose to not define my work, or how I choose to somehow re-navigate categorization and genre and style. </p>
<p>I also got a bunch of crap out of my system in art school. Me and everyone else there were all a bunch of entitled white kids who all thought we were geniuses, so they teach us about the great works of the 20th century and great performance art and whatnot, and then everyone wants to make the most offensive, shocking thing possible. And I made the worst stuff. My first year in art school, I just made the worst, most offensive fucking trash that I would be so horrified by today. But I think me and a bunch of other kids kind of got that out of the way, and that’s been helpful for making stuff now, or looking at what, historically, we think of as controversial or bad or shocking, and figuring out ways to re-navigate that as well. </p>
<p><strong>Speaking of deliberately provocative work: Your last record was called All Bitches Die. Can you talk about that in relation to your art school stuff that you called “trash,” but then realizing at some point, “Well, a little bit of this attitude can be useful”? </strong></p>
<p>Right, yeah. The language around All Bitches Die, and the stuff previous to that, is directly indebted to, or is appropriated from, other ideologies that are technically offensive. They’re indebted to an appropriator from misogyny, and from the misogyny of extreme music in particular. So I think, as far as making something controversial and the weight of that, or the value of that, and what it can and can’t do… it seems like it’s a matter of self-awareness and intent. When I was making total trash when I was 18 years old, I thought it was the greatest thing ever, and I thought it was super cool to make a short film that’s just people getting blowjobs over one of Tchaikovsky’s piano concertos and then slow motion videos of someone receiving the Eucharist or something. It’s just like, “Oh my god.” </p>
<p>But [with All Bitches Die], I’m aware of the absurdity of the language, and I’m aware of the absurdity of the imagery, and I’m looking at these very specific tropes in extreme music, and the Satanic posturing, the super dark posturing, and I’m taking that and trying to claim it in a different way. And there are some people who think that I am just trying to shock everyone or make something controversial, but what I’m really trying to do is take all of this stuff that I feel is both very loaded and very much meant to be like a weapon, but also is kind of meaningless because it’s just the genre signifiers. So yeah, people are giving me shit right now about my titles, and I’m like, “Look at your titles! Your titles are exactly the same thing, just in a slightly different context, and I’m deliberately taking from that world.” So for me, it’s a matter of intent and reframing. </p>
<p><strong>Your new record, <em>Caligula</em>, has a bunch of guest musicians on it. What do you see as the value of collaboration versus creating alone? </strong></p>
<p>With the previous records, I was completely alone. They were recorded in complete isolation. All Bitches Die was recorded literally in a shed in the woods in Rhode Island, where I lived and was very miserable for a long time. And Caligula was about a very specific time in Rhode Island where I felt kind of abandoned and invalidated by my community. Caligula, at its root, is about that. It’s about speaking out about abuse in Providence. It’s very much like an onion with many layers, and it has many micro and macro layers to it about social context and then interpersonal context, but ultimately that’s where it stems from. </p>
<p>I felt so alone when I was making this music, but I wanted to have people close to me. I wanted to have protection on the record. It’s a very strange thing. But some of my really good friends—Mike Berdan, Noraa Kaplan, Lee Buford, and Sam McKinlay—were very much there for me at that time when I was going through hard stuff, and to have them on the record was really important to me. It felt like having my community there, my close circle of trust. So for this record, that’s why they’re there. </p>
<p>I am a little bit tyrannical, as far as control, though. I have to do everything myself and I have to have total autonomy over the work in the end. So the collaborations were really more about the presence, and also the fact that these people are super talented and I admire their talents, but I wanted to have them close to me. </p>
<p><strong>From what I can gather, Caligula is more political than All Bitches Die. As someone who has a platform and an audience, do you feel a sense of responsibility to talk about what’s going on in the world around us—even if it’s just metaphorically? </strong></p>
<p>I do, and I feel like I fail at it. I feel like I’m not doing enough. I feel like I can’t do enough. I think I don’t know what to do about that. I don’t know how to be a good advocate, or how to move things forward. I only am an artist, and I don’t have a background in activism, per se, or political theory. I try to be educated as much as I can, but I also don’t know where my role ends and starts. </p>
<p>I have a lot of people write to me, personally, almost every day, telling me about their personal experiences, and a lot of times I get people writing to me about their experiences of abuse by somebody whose music I just posted about, or something like that. It happens almost everyday. And I don’t know what to do. I don’t know how to help people in the best possible way. So I’m currently trying to figure out how to navigate that. I want to help, I just… I can barely process my own stuff, and so to be responsible for other people… I try to help, and I often try to do harm reduction, but I don’t like to post about it or talk about it, necessarily, and try to handle things privately among the people involved. But it is kind of like a constant thing in my life that people approach me and want me to help them through some sort of situation. So I’m trying to figure out how to help the best I can, but also recognize my own limits. </p>
<p><strong>You donated the proceeds from your first EP to the National Network to End Domestic Violence. That seems like a pretty good start, as far as helping goes. </strong></p>
<p>Yeah, that’s one thing, but I feel like I can do so much more, and I feel obligated to do so much more. But I do also feel that people in times like these do have different roles, and if you have the resources to give money, then you should give money. If you don’t have the resources to give money, then there’s something else you can do. Or if you are not able to go out and be boots-on-the-ground or be in the streets protesting, there is another way to do good in the world. Sometimes I feel like people think that their way of doing things is the only right way, but I think that there are a bunch of different ways to go about doing right in the world, and I just feel like I don’t do enough. I don’t know. </p>
<p><strong>To what extent do you see music and art, in particular Lingua Ignota, as important or even necessary for processing anger, pain, or trauma? </strong></p>
<p>For me, it’s been the only way I have processed trauma. I kind of don’t believe in traditional systems of healing that we have in place for trauma, or for really anything. I found that those systems don’t work for me at this point. Maybe they will in the future. So creating this music and putting it in the world has been my only way of finding accountability, first of all, or trying to draw out accountability, or drawing attention to things that have been swept under the rug or invalidated or neglected, and then being able to express this anger and the despair and the hopelessness and all the other boiling feelings. This has been the only way that I’ve been able to effectively exorcize them. </p>
<p><strong>You used some text from the Jonestown tape on Caligula. Did you have any reservations about that? It’s one thing to take your own personal trauma and make art with it—that’s obviously your prerogative—but did you have any misgivings about using the trauma of others? </strong></p>
<p>I do think about that, and I also thought about that a lot when I had Aileen Wuornos in my work often. I thought about what it means to co-opt someone’s pain and if that was the wrong way to go about it or if I should’ve just stuck to my own story. Ultimately with Aileen, I thought about including her in the work as a way to honor her and as a way to bring respect and a sense of dignity to her story, which so many people don’t really know about, or just know about from watching the film Monster with Charlize Theron. </p>
<p>Thinking about utilizing or having the text to, “If the poison won’t take you, my dogs will” being not exactly from Jim Jones, but kind of paraphrasing the death tapes a little bit, I did think about the people involved, that it was an actual tragedy. But I was mostly concerned about the attitude of Jim Jones himself, and looking at this super manipulative language, and putting that into the context of survivor-hood and manipulation and interpersonal relationships, and then also as just this horrifying fantasy that I have that the only way to end my trauma is to kill myself. So that’s really what the song was about, and I hope that nobody feels harmed by that, or by the use of that text—specifically nobody related to that massacre and that tragedy. But if they do, I’ll try to be accountable for it. </p>
<p><strong>On Caligula, you also address some of the social media commentary on your work. Why did you want to do that? Why did you choose to respond rather than stay above the fray? </strong></p>
<p>I think that we live in a really bizarre time, and I think that with social media and the internet, I would be remiss to not explore that if I wanted to make truly contemporary work. I am really interested in the boundary—and this plays out in my live shows as well—I’m interested in challenging the demarcation between the audience and the performer, the audience and the artist, the listener and the musician, and really looking at those relationships and flipping them around or shifting perspective, shifting gaze. Sometimes in the work, it’s kind of unclear who’s being looked at or who is being listened to. I am interested in what people have to say about the music, because I think it’s very strange music, so looking at comments that people might have that may be invalidating of the experience or of the work and taking that and flipping it again… the relationship between myself and the listener is very interesting to me. </p>
<p><strong>On that note, do you write with your audience in mind? </strong></p>
<p>Sort of, but not really. First and foremost, it has to feel like something I’m compelled to do, or like it’s necessary in some way for the thing to be in the world, and that comes exclusively from a need from me. I think that if no one ever heard the work, it wouldn’t matter, ultimately, to me. I mean, with my previous couple of records, I honestly didn’t think anyone would hear them. But with this one, I knew that people were paying attention, and so there are some things on this record that kind of directly reference that, and there is an awareness of the audience in the music. But I don’t think I necessarily write for them. I think it’s just that they’re kind of in the periphery—or the gaze shifts to them at some point. </p>
<p><strong>Earlier you mentioned your live shows, which are very physical. You’ve even given yourself a concussion onstage. The need to go all out, even at your own peril—where did that come from? </strong></p>
<p>It’s kind of a problem, to be honest. [Laughs] I think it very much has to do with my history of trauma, and that, for me, I don’t really feel that much unless I’m in a legitimately kind of dangerous place. So I actively seek dangerous situations, and I think it’s really important to me to bring a level of authenticity to what I do and to bring actual honesty and an actual… like, I can’t be pretending to hurt myself. I can’t be pretending that the work is about pretend violence. The work is about violence and I am hurting myself, and that feels like a direct comment on the posturing of a lot of music—the fake blood and the costumes and stuff—and creating something truly terrifying that’s just kind of corporeal instead.</p>
<p> </p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957492019-08-05T15:29:42-07:002020-01-13T11:27:47-08:00Lingua Ignota's 'CALIGULA' Continues Her Powerful Wailings Against Misogyny // PopMatters<p><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/be9e92f47c45e6474a1afbaf655d0dcda2e53566/original/2000x.png/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_" /><a contents="" data-link-label="" data-link-type="url" href="https://www.popmatters.com/lingua-ignota-caligula-review-2639639918.html" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/55cccea8d9b1e3924627be68457b1219e11d4e82/original/screen-shot-2019-08-05-at-3-22-12-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/384526f9abbd2a197e7a8a5d913963cc602ee453/original/screen-shot-2019-08-05-at-3-22-39-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/4ffe6095dfc16aee5d017e8788d2e703cada898a/original/screen-shot-2019-08-05-at-3-22-47-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></a></p>
<p><a contents="(via PopMatters)" data-link-label="" data-link-type="url" href="https://www.popmatters.com/lingua-ignota-caligula-review-2639639918.html?rebelltitem=1#rebelltitem1" target="_blank">(via PopMatters)</a></p>
<p>On her 2018 debut All Bitches Die, Kristin Hayter, aka <a contents="Lingua Ignota" data-link-label="" data-link-type="url" href="https://facebook.com/linguaignotamusic/" target="_blank">Lingua Ignota</a>, 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. </p><!-- more -->
<p>Now, Hayter's second full-length CALIGULA continues her ever-evolving performance that is a resistance. Once again, she transforms shattering lamentations into empowered declarations against misogyny, while also complicating the dominant narratives of women's trauma. </p>
<p>CALIGULA begins with daunting, circling cellos on "FAITHFUL SERVANT FRIEND OF CHRIST". Like the mood-setting ambient drones of psychological horror film credits, the album opener establishes its impending theatrics. The overture sets a foundation of melodic and lyrical motifs, and thereafter, these motifs evolve into the nine-minute behemoth "DO YOU DOUBT ME TRAITOR". The latter's piano progression adopts the opener's cello melody as Hayter's vocals enter intimate, fragile, and marked. However, this soon changes as her cries intensify into frantic shrieks. "How do I break you before you break me?" she screams as the piano ballad morphs into a noisy cacophony.</p>
<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="M1ZweG__q-w" data-video-thumb-url="https://img.youtube.com/vi/M1ZweG__q-w/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/M1ZweG__q-w?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="360" width="600" allowfullscreen="true"></iframe></p>
<p>Hayter's use of such evolving motifs reflects the many varying manifestations of trauma. Complicating the dominant narratives of women's trauma, her stories don't suggest any linear, tertiary road to healing. Rather, her tales uncover what is often lasting and untold. As such, a song like "SORROW! SORROW! SORROW!" "is meant to speak to the ineffable quality of trauma, something my music tries to express", she told Louder. On one of her softest, most intimate songs, Hayter bares suicidal thoughts. Her lowly croons intermittently turn to polyphonic overtone singing, and she pleads, "Disperse me to the air / That I may not be defiled by any other earthly thing." Alone with the piano, she voices the unfortunate reality of falling desperate for peace, "about abdicating your body to find freedom". </p>
<p>In these ways, CALIGULA is not exactly about healing trauma, but rather, it tries to better voice the enduring effects of it. There is no simple way of letting go, and Hayter unapologetically expresses her lasting anger throughout the album. On "BUTCHER OF THE WORLD", a symphony of industrial noise and Hayter's most throat-expending screams overwhelm the liturgic organs. Her distorted, piercing wails declare, "May your days be few / May another steal / Steal what you stole." From deep thoughts about suicide to lingering anger for the abuser, Hayter's lyrics are necessarily direct. In a society full of misogynistic perspectives and sexist structures, women are threatened to remain silent, pushing for a so-called introspective journey of healing. CALIGULA rejects this violent notion of rape culture and self-blame, loudly voicing her rightful wrath.</p>
<p style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2248763603/size=large/bgcol=ffffff/linkcol=e99708/tracklist=false/artwork=small/transparent=true/" style="border: 0; width: 100%; height: 120px;">CALIGULA by LINGUA IGNOTA</iframe></p>
<p>With more vocal force and structural spectacles than her debut, CALIGULA builds upon Hayter's already dynamic aesthetic. Her thoughtful amalgam of opera, neoclassical darkwave, and death industrial continues to produce theatrical yet still intimate pieces. But above all, Hayter's uncompromised voice tells a necessary story that contests the dominant narratives of women's trauma. Her vivid, brutal portrayal of the enduring effects of misogyny and domestic abuse strictly reveals the gruesome realities of it. CALIGULA reclaims the stories of so many women that have been silenced by misogynistic perspectives and sexist structures.</p>
<p><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/a2ee27de51dfbfc85bd39e9c1ef9ca7b978b0b7c/original/screen-shot-2019-08-05-at-3-26-43-pm.png/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_" /></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957502019-07-29T14:18:06-07:002020-01-13T11:27:47-08:00Lingua Ignota Podcast Interview with Amanda Palmer<p><iframe allow="autoplay" frameborder="no" height="166" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/658042406&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe><br><br>Podcast interview with Kristin Hayter, aka <a contents="Lingua Ignota" data-link-label="Lingua Ignota" data-link-type="page" href="https://sargenthouse.com/lingua-ignota" target="_blank">Lingua Ignota</a> done by Amanda Palmer on her latest podcast episode. Recored in March 2019 in Austin, TX during SXSW.<br><a contents="Youtube link" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=busR948qeNU&feature=youtu.be" target="_blank">Youtube link</a> // <a contents="Soundcloud link" data-link-label="" data-link-type="url" href="https://soundcloud.com/amandapalmer/afp-talks-to-lingua-ignota/s-NwjeY?fbclid=IwAR0NTqg8i3vxLZ5fHYXjJk_mw9W7XUSqmPd--KiSfPUz1gIWkPbE7ZY1kkw" target="_blank">Soundcloud link</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957512019-07-26T11:48:12-07:002020-01-13T11:27:47-08:00CALIGULA vs. The Needle Drop<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="QOwE58DvVQ8" data-video-thumb-url="https://img.youtube.com/vi/QOwE58DvVQ8/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/QOwE58DvVQ8?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="360" width="600" allowfullscreen="true"></iframe></p>
<p><em>CALIGULA</em> 9/10 album review. "Caligula is an even more incredible journey to hell than its predecessor." – The Needle Drop</p>
<p><a contents="(youtube link)" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=QOwE58DvVQ8" target="_blank">(youtube link)</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957522019-07-25T11:08:06-07:002020-01-13T11:27:47-08:00'CALIGULA' Album Review // Pitchfork<p><a contents="" data-link-label="" data-link-type="url" href="https://pitchfork.com/reviews/albums/lingua-ignota-caligula/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/2cbfff51cda97ed57cca32153f07f9844eb8bec1/original/pitchfork.png/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_" /></a><a contents="" data-link-label="" data-link-type="url" href="https://pitchfork.com/reviews/albums/lingua-ignota-caligula/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/dbf267e5c5d87d161d184d4a3b880129b8d7ef91/original/screen-shot-2019-07-25-at-10-55-07-am.png/!!/b:W10=.png" class="size_l justify_center border_" /></a><a contents="(Full review on Pitchfork)" data-link-label="" data-link-type="url" href="https://pitchfork.com/reviews/albums/lingua-ignota-caligula/" target="_blank">(via Pitchfork)</a></p>
<p><span class="font_large">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.</span></p>
<p>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. </p><!-- more -->
<p>From renaissance paintings to murder ballads and beyond, feminist revenge has charged art to cathartic ends—envisioning a world in which women do not only demand justice but see it through, in their work, by any means necessary. Caligula embodies that insurrectionary fury. Working with members of The Body, Uniform, Full of Hell, and others, Hayter crafts a 66-minute world ablaze with contempt for man, which, though divided into 11 all-caps tracks—with such imposing titles as “I AM THE BEAST,” “IF THE POISON WON’T TAKE YOU MY DOGS WILL,” and “SPITE ALONE HOLDS ME ALOFT”—plays out like one continuous, epic composition. More than songs, they feel like a succession of enraged suites, each one a threat, an intervention, an act of solidarity. </p>
<p>Lingua Ignota sparks fantasies of demonic avant-opera icon Diamanda Galás joining with industrial-metal titans Godflesh to create a horror soundtrack, or Maria Callas in hell. Her goal seems to be to deconstruct and destabilize, to discomfit. She situates death growls and strangulated vocalizations amidst orchestral strings, choral singing, and chimes—like a hex on the whole social order. “Everything burns down around me,” she sings with incantatory grandeur on “MAY FAILURE BE YOUR NOOSE,” atop the incendiary counterpoint of Uniform’s Michael Berdan. </p>
<p>Near the beginning of Caligula, Hayter beckons Satan to come to her side, to “fortify me”—things get darker from there. Her invocation recalls Galás’ own definition of the devil in 1991. “When a witch is about to be burned on a ladder in flames, who can she call upon?” Galás asked in the book Angry Women. “I call that person ‘Satan.’” Hayter summons this original insurgent on behalf of a society that rarely believes embattled women. “How do I break you before you break me?” she seethes on “DO YOU DOUBT ME TRAITOR.” The savage “SPITE ALONE HOLDS ME ALOFT” culminates in her disarming, boiled-over prayer to “Kill them all/Kill them all/Kill them all.” For her enemies, she wishes, “May your foes be many/May your days be few.” Unsparing would be a way to put it. Caligulawants abusers dead. </p>
<p>Occasionally, Hayter breaks into fragments of traditional melody and balladeering, but it is never long before she incinerates them. And though she draws on the embittered atmospheres and theater of metal, Caligula’s unwieldy, behemoth-like sprawl practically laughs at the concept of riffs. Hayter said it was her goal to “recontextualize that phallocentric format for people who need it,” and she crafts a sound that, if not feminine, feels decidedly unmale, and crucially vulnerable. The solemn highlight “FRAGRANT IS MY MANY FLOWER’D CROWN,” for one, finds Hayter singing of how “the bitter blood of many foes sustains me” with a low, chilling resolve. She pushes her voice into unsettling gurgles before declaring, with shocking clarity, “I have learned that all men are brothers/And brothers only love each other,” like an ornate rewriting of the Jenny Holzer maxim “Men Don’t Protect You Anymore.” </p>
<p>On Caligula’s closing track, in a final turn, Hayter quotes the poet Frank O’Hara: “All I want is boundless love.” The line is from his 1957 collection Meditations in an Emergency, but Haytner undercuts it with her own devastating experience: “All I know is violence.” This brutal ending reminds us that if Caligula is too taxing to bear, that’s because it is a work of realism. When Hayter calls herself “the butcher of the world [...] throatslitter of the world” on a cold-blooded hymn titled “FUCKING DEATHDEALER,” I think of the artist Artmisia Gentileschi, a protégé of Caravaggio, who was tortured in court in 1612 after she opened a case against her rapist. Gentileschi spent the rest of her career painting depictions of violence against men. Women have been seeking this revenge forever.</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957532019-07-19T17:42:16-07:002020-01-13T11:27:48-08:00Lingua Ignota's track by track guide to CALIGULA // Louder Sound<p><a contents="" data-link-label="" data-link-type="url" href="https://www.loudersound.com/features/lingua-ignotas-track-by-track-guide-to-new-album-caligula" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/55f65832a299a77d843c0e40efd200edfe4fe1d7/original/screen-shot-2019-07-19-at-5-38-35-pm.png/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_" /></a><a contents="" data-link-label="" data-link-type="url" href="https://www.loudersound.com/features/lingua-ignotas-track-by-track-guide-to-new-album-caligula" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/93a6ef38fce83c4ffe9574428d989bcbe6f51c51/original/screen-shot-2019-07-19-at-5-39-40-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></a><a contents="" data-link-label="" data-link-type="url" href="https://www.loudersound.com/features/lingua-ignotas-track-by-track-guide-to-new-album-caligula" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/0d0e9950b71d25482bf19b551d7d963a903ad11b/original/8minbfawuqonznkhtmm39p-650-80.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a></p>
<p>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. </p>
<p>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. </p>
<p>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. </p>
<p>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. </p>
<p>Here, Hayter talks us through the brilliant CALIGULA one track at a time.</p>
<p><a contents="(Full feature via Louder Sound)" data-link-label="" data-link-type="url" href="https://www.loudersound.com/features/lingua-ignotas-track-by-track-guide-to-new-album-caligula" target="_blank">(Full feature via Louder Sound)</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957542019-07-19T07:00:00-07:002020-01-13T11:27:48-08:00'CALIGULA' OUT NOW<p style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=2248763603/size=large/bgcol=ffffff/linkcol=f171a2/tracklist=false/transparent=true/" style="border: 0; width: 600px; height: 600px;">CALIGULA by LINGUA IGNOTA</iframe></p>
<p>Lingua Ignota's new record 'CALIGULA' is out everywhere now on <a contents="Profound Lore Records" data-link-label="" data-link-type="url" href="https://www.profoundlorerecords.com/linguaignota/" target="_blank">Profound Lore Records</a>. </p>
<p><a contents="Bandcamp" data-link-label="" data-link-type="url" href="http://linguaignota.bandcamp.com/album/caligula" target="_blank">Bandcamp</a> // <a contents="Spotify" data-link-label="" data-link-type="url" href="http://open.spotify.com/artist/3Q2RrKEOBdkWI2MJQgdt84" target="_blank">Spotify</a> // <a contents="Apple Music" data-link-label="" data-link-type="url" href="http://itunes.apple.com/us/artist/lingua-ignota/1395470206" target="_blank">Apple Music</a></p>
<p>Order: <a contents="linguaignota.net/stores&nbsp;" data-link-label="" data-link-type="url" href="http://linguaignota.net/stores" target="_blank">linguaignota.net/stores</a><br>Tour: <a contents="linguaignota.net/shows&nbsp;" data-link-label="" data-link-type="url" href="http://linguaignota.net/shows" target="_blank">linguaignota.net/shows </a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957552019-07-18T12:13:36-07:002020-01-13T11:27:48-08:00MY SWEET REVENGE: Interview // KERRANG!<p><a contents="" data-link-label="" data-link-type="url" href="https://www.kerrang.com/features/my-sweet-revenge-how-lingua-ignota-is-transforming-the-horrors-of-abuse-abuse-into-art/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/6be1f876df23a5db5bd582f546bb80f7e01751b6/original/lingua-ignota-painterly1-photos-courtesy-of-the-artist.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a><a contents="" data-link-label="" data-link-type="url" href="https://www.kerrang.com/features/my-sweet-revenge-how-lingua-ignota-is-transforming-the-horrors-of-abuse-abuse-into-art/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/391c05b72653efc2b5e491ce8128bc2078bcc006/original/screen-shot-2019-07-18-at-12-05-38-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></a><a contents="(Full Interview via KERRANG!)" data-link-label="" data-link-type="url" href="https://www.kerrang.com/features/my-sweet-revenge-how-lingua-ignota-is-transforming-the-horrors-of-abuse-abuse-into-art/" target="_blank">(Full Interview via KERRANG!)</a></p>
<p>“I’ve had a difficult time finding justice in the world, finding accountability for the people who have done harm to me… The music is my way of holding people accountable and finding justice. My way of finding revenge.” </p>
<p>These are the powerful words of Kristin Hayter; a survivor of domestic abuse who channels her pain and aggression into Lingua Ignota, an ambitious, breath-taking project that incorporates everything from opera to noise. </p>
<p>“I wanted to do something that was different, that was fresh and solely my vision,” she tells us from her home on the West Coast of the United States. “I didn’t want to adhere to any genre or categorisation where there are rules or limitations, I wanted to make something that was authentic and honest.”</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957562019-07-16T17:46:21-07:002020-01-13T11:27:48-08:00“Take Tools Used Against You And Make Yourself Powerful” Interview Feature// New Noise Magazine<p><a contents="" data-link-label="" data-link-type="url" href="https://newnoisemagazine.com/take-tools-used-against-you-and-make-yourself-powerful-lingua-ignota-on-caligula/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/98be66f4804d213f4d768d550b480fce074bb799/original/new-noise-logo.gif/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_" /></a><a contents="" data-link-label="" data-link-type="url" href="https://newnoisemagazine.com/take-tools-used-against-you-and-make-yourself-powerful-lingua-ignota-on-caligula/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/4c1ec0d0180d76c6580c2bedca20b06577c75e74/original/screen-shot-2019-07-16-at-5-40-42-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></a><a contents="" data-link-label="" data-link-type="url" href="https://newnoisemagazine.com/take-tools-used-against-you-and-make-yourself-powerful-lingua-ignota-on-caligula/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/13642d2d4a2e2a460d65da369a6f6e149cf532cb/original/22-963x1024.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a><a contents="(via New Noise Magazine)" data-link-label="" data-link-type="url" href="https://newnoisemagazine.com/take-tools-used-against-you-and-make-yourself-powerful-lingua-ignota-on-caligula/" target="_blank">(Full feature via New Noise Magazine)</a></p>
<p>“I wanted to look at the full spectrum of the depravity and the loneliness and the total despair and devastation and the rage and the psychotic anger and all of the things that accompany abuse of power,” says Californian multi-instrumentalist Kristin Hayter, better known as <a contents="Lingua Ignota" data-link-label="Lingua Ignota" data-link-type="page" href="https://sargenthouse.com/lingua-ignota" target="_blank">Lingua Ignota</a>. </p>
<p>Lingua Ignota has always taken a radical, resolute approach to themes of violence and vengeance, and CALIGULA, out via Profound Lore Records on July 19, builds on the evolution of the survivor at the core of this narrative. “A big part of this project is about transformation and about how survivors move through their experiences, how we move through our experiences,” Hayter explains. “I was looking at someone like [the Roman emperor] Caligula, who matches the depraved narcissism of certain political figures that we have today but who is also very similar to the behavior that we see in a lot of abusive people in intimate relationships and also might be reflected in how the survivor then behaves.”</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957572019-07-15T14:06:56-07:002020-01-13T11:27:49-08:00CALIGULA, Album of the Week // Treble<p><a contents="" data-link-label="" data-link-type="url" href="https://www.treblezine.com/reviews/lingua-ignota-caligula-review-album-of-the-week/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/b97237d3a2417e903cc9e8ae5e82a0c9e969f582/original/treble-header-logo3.jpg/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.jpg" class="size_m justify_center border_" /></a></p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://www.treblezine.com/reviews/lingua-ignota-caligula-review-album-of-the-week/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/33d1a311a39eccaae459971144b4464b7a76b059/original/albumart-3000.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a><a contents="" data-link-label="" data-link-type="url" href="https://www.treblezine.com/reviews/lingua-ignota-caligula-review-album-of-the-week/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/82b9c9a988c2a1745c09f05eee68efc9e80196bc/original/screen-shot-2019-07-15-at-1-59-42-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></a></p>
<p><a contents="(via Treble)" data-link-label="" data-link-type="url" href="https://www.treblezine.com/reviews/lingua-ignota-caligula-review-album-of-the-week/" target="_blank">(via Treble)</a></p>
<p>There’s no ignoring Kristin Hayter’s voice. She’s not so much a singer as an exorcist, her impassioned and intense, bordering on outright terrifying vocal presence can ably transform from an almost sacred beauty to abject terror in a single song. And hers, to be fair, tend to stretch more on the lengthier side—that Hayter’s compositions as <a contents="Lingua Ignota" data-link-label="" data-link-type="url" href="http://linguaignota.net" target="_blank">Lingua Ignota</a> take their time to resolve, to let the listener linger in the agony and fear for as long as they do, showcases just how difficult a thing it is that she does. She’s in large part a descendant of the primal scream opera of Diamanda Galás, with a closer connection to contemporary metal. But even when lending her voice to music such as the sludgy industrial grind of The Body or the manic powerviolence of Full of Hell, it’s her own contribution that leaves the most indelible impact. </p><!-- more -->
<p>Members of those bands as well as Uniform’s Michael Berdan, Visibilities’ Noraa Kaplan and Wood & Metal’s Ted Byrnes make appearances on Caligula, Lingua Ignota’s third album, though there’s no mistaking whose vision this is and who’s in command of the gut-wrenching proceedings. Caligula is one of 2019′s most intense listening experiences, a visceral and frequently stunningly beautiful piece of neoclassical destruction that’s teeming with violence, anger and hurt. To call it cathartic is an understatement; by the end of its 71 minutes, your soul has been extracted from your body, torn into smaller pieces and scattered like salt upon the earth. </p>
<p>All of which is to say: Caligula is not for the faint of heart, the squeamish or those averse to truly harsh and confrontational art. In the first song released from the album, “Butcher of the World,” Hayter performs a piece of organ-driven medieval choral music made all the harsher by her distorted, black-metal style screams: “I’m the fucking deathdealer…if you don’t fear me yet, you will.” Yet within this duality of harshness and an almost spiritual approach to melody, there is transcendence. The crashes and overdriven rumble of “If the Poison Won’t Take You My Dogs Will” only serve to highlight the beauty of Hayter’s delivery, evoking Christian liturgy (“kyrie eleison“) in a gorgeously devastating hymn exploring suicide as means of protection from becoming a victim to someone else (“If you lay your life down, no man can take it“). And “Day of Tears and Morning” erupts into a thunderous mixture of sludge metal and gothic canticle, Hayter’s vocals too distorted to fully decipher. But the feeling of wrath and destruction is unmistakable. </p>
<p>On a thematic level, Caligula is even more intense than its explosive sounds let on. As an extended conceptual work revolving around ideas of violence, revenge and survival, the album neither turns its gaze away from atrocity and horror nor is it couched in metaphor. “Do You Doubt Me Traitor” is one of the most tense and unnerving of any piece here—which is, admittedly, saying quite a bit—gradually rising to a climax over 10 minutes, Hayter ultimately bellowing, “Bitch, I smell you bleeding/And I know where you sleep.” She echoes an ugly refrain of everyday misogyny in “May Failure Be Your Noose” (“Who will fuck you if I don’t?“) and in “Spite Holds Me Aloft,” her cries of “Betray me” precipitate an eruption of stormy, violent noise, only to return to a glorious chant of “Kill them all.” </p>
<p>If some of the ideas and voices that pierce through the noise and the serenity on Caligula sound dangerously familiar to those who so often occupy media airtime, it’s not coincidental. In an interview with Treble, Hayter explained that what began as something personal expanded into something that speaks to a bigger cultural moment: “Caligula took on all these other connotations and became less about me, and more about surviving in the world at-large that we live in, as well as under the political climate that we exist.” It’s a political album in the sense that it reflects a real darkness that so many are struggling to survive through, but to leave it at that feels reductive. This is a work of great power and endurance, a statement of survival in its harshest and most uncompromising form. Hear it and bear witness to anger and vengeance made flesh.</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957582019-07-09T13:03:34-07:002020-01-13T11:27:49-08:00Deconstruction of Depravity: An interview with Lingua Ignota // Treble<figure class="tmblr-full" data-orig-height="680" data-orig-width="798"><a contents="" data-link-label="" data-link-type="url" href="https://www.treblezine.com/lingua-ignota-interview-deconstruction-depravity/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/a50950f0c77b5a58c202f37a38113642b8cfea0b/original/66191711-2092525584190329-2151240133771264000-n.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a></figure>
<figure class="tmblr-full" data-orig-height="154" data-orig-width="755"><p style="text-align: center;"><a contents="" data-link-label="" data-link-type="url" href="https://www.treblezine.com/lingua-ignota-interview-deconstruction-depravity/" target="_blank"><img src="https://66.media.tumblr.com/a7775bee4189220d38ec360cf1dfdf55/cacc0a8802bdf010-3c/s540x810/10b286dc94259e8fcce1af0a10e8fc68752c9af0.png" class="size_orig justify_inline border_" /></a></p></figure>
<p><a contents="(via Treble)" data-link-label="" data-link-type="url" href="https://www.treblezine.com/lingua-ignota-interview-deconstruction-depravity/" target="_blank">(via Treble)</a></p>
<p>Kristin Hayter is one of the most fascinating voices in contemporary music today, but most probably wouldn’t recognize her by her real name. She performs and records under the name <a data-link-label="" data-link-type="url" href="http://linguaignota.net" target="_blank">Lingua Ignota</a>, which is from the German mystic Hildegard of Bingen, meaning “unknown language.” And her work is both fascinating and mind-boggling; from drone to industrial, to doom, classical, and even some gospel-like elements, Hayter explores and combines a vast range of styles into intriguing compositions.</p><!-- more -->
<p>Her 2017 LP, <a href="https://linguaignota.bandcamp.com/album/all-bitches-die">All Bitches Die</a>, is a remarkable record that subverts audience ideas towards harsh music genres, while also exploring themes of abuse and violence.</p>
<p>This month, Hayter releases her follow up record, Caligula. And again, the name evokes something specific—for most of us, Caligula may bring to mind tthe Roman emperor, with a reputation for being horrifically corrupt and violent. For Hayter, however, the record represents a broader exploration of themes pertaining to violence and cruelty.</p>
<p>“The record itself is kind of a big labyrinth,” she says, “and I think for me, Caligula took on many meanings. Originally, I was thinking of the term ‘Caligula” in regards to madness and depravity—looking at my own madness and depravity suffering from PTSD. I wanted to bring all these recurring issues I was having into this record; [I sort of took this approach toward a] concept of a psychotic fugue I was going through. But eventually, Caligula took on all these other connotations and became less about me, and more about surviving in the world at-large that we live in, as well as under the political climate<br>that we exist.”</p>
<p>In embracing these broader themes, Hayter presents a record that is universal in scope. She conveys the horrors of corrupt power, and how it can affect people throughout the world. By taking on these concepts, she offers an ethereal and existential atmosphere, providing a weight of agony both contemporary and felt throughout history.</p>
<p>“[The record explores] depravity in a larger sense,” she says, “[such as] the depravity of people in power politically these days; and also the depravity of people in power in our communities and intimate relationships. [Caligula] became like this huge kind of monster and much less about historical Caligula, the Roman emperor. It became this concept of monstrous depravity and loneliness, betrayal and violence.”</p>
<figure class="tmblr-embed tmblr-full" data-orig-height="304" data-orig-width="540" data-provider="youtube" data-url="https%3A%2F%2Fyoutu.be%2FM1ZweG__q-w"><p style="text-align: center;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="304" id="youtube_iframe" src="https://www.youtube.com/embed/M1ZweG__q-w?feature=oembed&enablejsapi=1&origin=https://safe.txmblr.com&wmode=opaque" width="540"></iframe></p></figure>
<p>Given the difficult subject matter of her material, Hayter provides careful analysis of how she embarks on a piece of music, mindful of the tones and emotions she looks to elicit. Her academic mindset to music allows for the material to exude its brilliant and haunting presence; through her blends of genre, intriguing use of sampling, and takes on compositional structure and writing, her process is remarkable. Among the samples used on Caligula, Hayter brings up one that involves a unique history and how she wanted to put her spin on it.</p>
<p>“‘The Funeral March For Queen Mary,’ originally by Henry Purcell, was recontextualized by Wendy Carlos for Stanley Kubrick’s A Clockwork Orange,” she says. “So being a death march for a woman, it was recomposed and reinterpreted by a trans woman to express senseless violence and depravity done by men, to later be taken by a few other artists … I take it and give it my own bravado and bombast, so for me the cultural history of that sample is interesting.”</p>
<p>Speaking to her process, she explains how her work is not directly working toward catharsis, but how in a sense it can be a byproduct.</p>
<p>“I don’t know if [creating a work of catharsis would] be something I would be able to do if I were trying to do it. I think there is a larger kind of processing that is happening in the music, project, and work,” she says. “The way I go about making things in this kind of deconstructed, very fragmented way, pulling apart different elements, is my way of pulling apart the pieces of my experiences, and then I put them back together in a way that suites [me]. And that’s kind of like a therapeutic process. I am trying to evoke different moods and atmospheres, and elicit different responses with the music. But I don’t know if I’m going for exactly a catharsis for myself certainly. ”</p>
<p>Caligula embraces the harrowing, and at times enchanting, madness that was found on All Bitches Die. However, Hayter elevates her craft, presenting visceral instrumentation. Along with the record’s collection of instrumental components, Hayter brings to the table her intriguing vocal range. From the bravado of her voice, exuding ethereal tension and terrifying shrieks, her voice is an instrument all on its own. Hayter explains the vocal direction she wanted throughout Caligula, going into some of the more technical aspects of her vocal preparation.</p>
<figure class="tmblr-full" data-orig-height="106" data-orig-width="635"><p style="text-align: center;"><img src="https://66.media.tumblr.com/4d1a74d2e6a03ca62a1735ae38043392/cacc0a8802bdf010-27/s540x810/60e63d3ffbe47bd958bbaeb50387248ebaf98db1.png" class="size_orig justify_inline border_" /></p></figure>
<p>“With this record I was specifically wanting to work with a very particular kind of tone,” she says. “It was actually one of the biggest challenges for me because I worked very hard to make sure [my voice] did not sound beautiful. Very technically speaking, I keep my larynx very very low throughout the record, and it sounds a little bit squashed, strangulated, very kind of wide and low, and it’s a little bit masculine. I wanted to get rid of any kind of breathy, femininity that would have been on previous records.”</p>
<p>When she writes, Hayter builds her work out of fragments. “Particularly for this record, I took a really weird approach to the songwriting,” she says. “Most of the songs started out [only using my] voice and piano, just to have chord progressions and structure. Sometimes I use no lyrics to establish a vocal line. But then a lot of it [the material] was then taken and totally deconstructed; the record kind of moves moment by moment, as opposed to song by song.</p>
<p>“I think about what the text is at any given moment and what the chord progression is, then how dynamics and any sort of additional texture or harmony will augment that lyric at that moment, and then I build things in almost like a vertical way,” she continues. “I’ll have this little base structure of like, ‘Here’s the chord progression, here’s the text.’ Then I’ll have all these different fragments of like, Oh right here I want there to be a piece of melody from this 11th century song that fits exactly with this lyric.’ So it’s a very deconstructed process putting everything together.”</p>
<p>Caligula is a unique record, one of the year’s most intriguing. Hayter weaves together her academic fascinations and personal journey into pure, visceral art, unleashing her emotions through intense and powerful compositions. As an artist, Hayter is driven to create work that feels new, that is elaborate and unorthodox, while also being authentic and sincere. She looks to take themes in the cultural zeitgeist and flip them and view them in a different way. But perhaps even more importantly, she is also driven by a single question that pushes her to dig deeper and analyze her material.</p>
<p>“One of the questions that I’m constantly asking myself is ‘Why?’, and I feel like a lot more artists should ask themselves this question as well,” she says. “Because being an artist is ultimately about editing; editing choices and making choices. So everything that I do, every move I make artistically, or everything I put into the work, there’s always a reason why. I’m always asking myself, ‘Why is that there? Why did I do that?’ It can be a little maddening sometimes. But I think that has been one of the things that has really helped me stay on track.”</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957592019-07-09T05:00:00-07:002020-01-13T11:27:49-08:00More Headlining Tour Dates in EU/UK & US Announced<p><img src="https://d10j3mvrs1suex.cloudfront.net/u/372908/aad358bad970fb0c5e10b1e64b0f27e1239e3a45/original/d-cgabpxoaasrgc.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p>Lingua Ignota announces more headlining shows in EU/UK & US. Full tour schedule + ticket links at <a contents="linguaignota.net/shows" data-link-label="" data-link-type="url" href="http://linguaignota.net/shows" target="_blank">linguaignota.net/shows</a><br><br>US<br>Sep 09 Chicago, IL @ Empty Bottle <br>Sep 10 Detroit, MI @ Deluxx Fluxx <br>Sep 11 Toronto, ON @ Baby G <br>Sep 12 Montreal, QC @ La Vitrola <br>Sep 13 Providence, RI @ Columbus Theater w/ The Body <br>Sep 14 Hudson, NY @ Basilica Soundscape <br>Sep 15 Brooklyn, NY @ Public Records <br>Sep 17 Philadelphia, PA @ PhilMOCA </p>
<p>EU/UK <br>Sep 26 Brussels, BE @ Centre Tour à Plomb <br>Sep 27 Amsterdam, NL @ de Brakke Grond * <br>Sep 28 Amsterdam, NL @ Paradiso * <br>Sep 30 London, UK @ Oslo <br>Oct 01 Manchester, UK @ Pink Room <br>Oct 02 Bristol, UK @ Rough Trade <br>Oct 04 Lille, FR @ La Malterie <br>Oct 05 Nijmegen, NL @ Soulcrusher Festival <br>Oct 06 Berlin, DE @ Urban Spree <br>Oct 07 Krakow, PL @ Krakow Unsound Festival <br>Oct 08 Prague, CZ @ Klub 007 <br>Oct 11 Budapest, HU @ LARM <br>Oct 12 Wien, AT @ Rhiz<br>Oct 13 Leipzig, DE @ Mørtelwerk<br>Oct 14 Mannheim, DE @ Forum Mannheim <br>Oct 16 Milano, IT @ Macao <br>Oct 18 Clermont-Ferrand, FR @ Raymond Bar <br>Oct 19 Paris, FR @ Espace B <br>Oct 20 Menen, BE @ CC De Steiger/ Stadsmuseum * <br>w/ Amenra * </p>
<p>US<br>Nov 08 Austin, TX @ LEVITATION <br>Nov 23 Yucca Valley, CA @ Gadi's Showroom <br>Nov 25 Los Angeles, CA @ Zebulon <br>Nov 26 San Francisco, CA @ Bottom of the Hill </p>
<p>more US shows still to be announced...</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957602019-07-08T13:24:50-07:002020-01-13T11:27:49-08:00Roadburn 2019 Live Audio Streams – Lingua Ignota<p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="356" scrolling="no" src="https://embed.vpro.nl/player/?id=WO_VPRO_15616571&profile=3voor12&sharing=1" webkitallowfullscreen="" width="600"></iframe></p>
<p>Stream audio from Lingua Ignota's Roadburn performance & more from <a contents="Roadburn Festival's latest collection" data-link-label="" data-link-type="url" href="https://roadburn.com/roadburn-2019-audio-streams-for-thou-lingua-ignota-grails-and-seven-that-spells-among-others-posted-on-line/?fbclid=IwAR1vnax-XLttdDPzJ4n0CZpPcQFPhgW1ezvmA6ZUhNzQk2R3Bd8r_X29Dmo" target="_blank">Roadburn Festival's latest collection</a> of live audio <a contents="HERE" data-link-label="" data-link-type="url" href="https://3voor12.vpro.nl/speel~WO_VPRO_15616571~lingua-ignota-live-at-roadburn-2019~.html" target="_blank">HERE</a>.<br><br>"We’re thrilled to bring you the latest collection of audio streams from Roadburn performances. Among those that are going live today from RB2019 are Thou (acoustic and Magus-era), Lingua Ignota, Henrik Palm, MJ Guider, Louise Lemón, Thor & Friends, Grails, Wolvennest, Bliss Signal and the Seven That Spells album trilogy shows. </p>
<p>Once again we have teamed up with VPRO 3voor12, Holland’s major cultural network, to bring you these streams in all their glory. As has become tradition, with the invaluable help of Marcel Van De Vondervoort (Torture Garden Studio) and his team, you are now able to relive or uncover some true highlights from the Roadburn vaults." – Roadburn</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957612019-06-27T11:45:20-07:002020-01-13T11:27:50-08:00Lingua Ignota Shares New Track "DO YOU DOUBT ME TRAITOR" & Expands Tour<figure class="tmblr-embed tmblr-full" data-orig-height="364" data-orig-width="600" data-provider="youtube" data-url="https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DM1ZweG__q-w%26fbclid%3DIwAR0ityemAQFFdnTmpaPblfo4ynpDifkMhLxPXko_UZIx9eqtL0WwyVDLlO0"><p style="text-align: center;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="364" id="youtube_iframe" src="https://www.youtube.com/embed/M1ZweG__q-w?feature=oembed&enablejsapi=1&origin=https://safe.txmblr.com&wmode=opaque" width="600"></iframe></p></figure>
<p><br>Listen to Lingua Ignota's powerful new track "DO YOU DOUBT ME TRAITOR", off her upcoming album 'CALIGULA' – out July 19 on <a contents="Profound Lore Records" data-link-label="" data-link-type="url" href="https://www.profoundlorerecords.com/linguaignota/" target="_blank">Profound Lore Records</a>. Tour dates have been expanded to include NL dates with Amenra & headlining US dates in California. </p><!-- more -->
<p><br>US <br>Sep 09 Chicago, IL @ Empty Bottle <br>Sep 10 Detroit, MI @ Deluxx Fluxx <br>Sep 11 Toronto, ON @ Baby G <br>Sep 12 Montreal, QC @ La Vitrola <br>Sep 13 Providence, RI @ The Columbus Theater w/ The Body <br>Sep 14 Hudson, NY @ Basilica Soundscape <br>Sep 15 Brooklyn, NY @ Public Records <br>Sep 17 Philadelphia, PA @ PhilMOCA </p>
<p>EU <br>Sep 27 Amsterdam, NL @ de Brakke Grond * <br>Sep 28 Amsterdam, NL @ Paradiso * <br>Oct 05 Nijmegen, NL @ Soulcrusher Festival <br>Oct 07 Krakow, PL @ Krakow Unsound Festival <br>w/ Amenra * </p>
<p>US pt. 2 <br>Nov 08 Austin, TX @ Levitation (Sargent House showcase) <br>Nov 25 Los Angeles, CA @ Zebulon <br>Nov 26 San Francisco, CA @ Bottom of the Hill</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957622019-06-25T12:15:00-07:002020-01-13T11:27:50-08:00Podcast Interview with Kristin Hayter // Just An Insight <figure class="tmblr-full" data-orig-height="575" data-orig-width="1360"><p style="text-align: center;"><a contents="" data-link-label="" data-link-type="url" href="https://justaninsight.com/2019/06/25/episode-116-kristin-hayter-lingua-ignota/?fbclid=IwAR3jW2IuBZ62f2HLtVDW3_pW3N95e3UYvQWhhUdv3KV7qf563jlZX6EnswM" target="_blank"><img src="https://66.media.tumblr.com/528468a9c789aaf9cfe2d7574e73293f/tumblr_inline_ptrui5SxXr1qbzv4w_540.png" class="size_orig justify_inline border_" /><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/faff3a926c4b4db9776d97ac15305248f6f2cd66/original/tumblr-inline-ptruim7vmr1qbzv4w-540.png/!!/b:W10=.png" class="size_l justify_center border_" /></a></p></figure>
<p>(<a contents="via Just an Insight" data-link-label="" data-link-type="url" href="https://justaninsight.com/2019/06/25/episode-116-kristin-hayter-lingua-ignota/?fbclid=IwAR3jW2IuBZ62f2HLtVDW3_pW3N95e3UYvQWhhUdv3KV7qf563jlZX6EnswM" target="_blank">via Just an Insight</a>) <br><br>This week on the Just an Insight Podcast we are joined by the genius mind behind LINGUA IGNOTA, Kristin Hayter.</p>
<p>During the chat we discuss Kristin’s background of how she got into the music world through the church, how she was embraced into the world of avant-garde metal and how her new record is more of a story piece than All Bitches Die.</p>
<p>Just so listeners are aware there are discussions of domestic and sexual abuse mentioned in this episode.</p>
<p>As always if you like what you hear from the show make sure you subscribe, rate and review the show on whatever platform you are listening to us on.</p>
<p>LISTEN TO THE EPISODE HERE:</p>
<p><a href="https://podcasts.apple.com/us/podcast/episode-116-kristin-hayter-lingua-ignota/id1198365284?i=1000442614756">Apple Podcast</a> | <a href="https://open.spotify.com/episode/3pkry6syZrSpCgXtSyVb39">Spotify</a> | <a href="https://soundcloud.com/justaninsightpodcast/episode-116-kristin-hayter-lingua-ignota">SoundCloud</a> |<a href="http://acast.com/justaninsightpodcast"> Acast</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957632019-06-17T12:38:12-07:002020-01-13T11:27:51-08:00'CALIGULA' Album Teaser<figure class="tmblr-embed tmblr-full" data-orig-height="364" data-orig-width="600" data-provider="youtube" data-url="https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DlpDS-ITW3dg%26fbclid%3DIwAR2RmDBJ4NVNZwKQJNAc8XNyrTYVh4iiKBKKPxfEWV09w7-b84lpcECWI9s"><p style="text-align: center;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="364" id="youtube_iframe" src="https://www.youtube.com/embed/lpDS-ITW3dg?feature=oembed&enablejsapi=1&origin=https://safe.txmblr.com&wmode=opaque" width="600"></iframe></p></figure>
<p>‘CALIGULA’ by <a contents="Lingua Ignota" data-link-label="" data-link-type="url" href="https://www.facebook.com/linguaignotamusic" target="_blank">Lingua Ignota</a> is coming July 17 via <a contents="Profound Lore" data-link-label="" data-link-type="url" href="https://www.profoundlorerecords.com/linguaignota/" target="_blank">Profound Lore</a>. See the album teaser by Mitch Wells for her upcoming release <a contents="HERE" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=lpDS-ITW3dg&fbclid=IwAR1yKaQ-3_zWHQofAlqglF2t_X-2JDyhByaGzUQ24JJ-CprkHfqytwDmgQs" target="_blank">HERE</a>.</p>
<p><a contents="TOUR INFO" data-link-label="" data-link-type="url" href="https://sargenthouse.com/lingua-ignota" target="_blank">TOUR INFO</a><br><a contents="US PRE-ORDER&nbsp;" data-link-label="" data-link-type="url" href="http://hellomerch.com/collections/lingua-ignota" target="_blank">US PRE-ORDER</a><br><a contents="EU PRE-ORDER" data-link-label="" data-link-type="url" href="http://evilgreed.net/collections/lingua-ignota" target="_blank">EU PRE-ORDER</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957642019-05-30T08:10:00-07:002020-02-15T05:41:29-08:00Headlining 2019 East Coast Tour Announced<p><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/5b151085fba0d50be1482413325f206d2e7fc019/original/admatbetter-sep-2019.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p>
<p><a contents="Lingua Ignota" data-link-label="" data-link-type="url" href="https://www.facebook.com/linguaignotamusic/" target="_blank">Lingua Ignota</a> has announced a string of headlining East Coast dates for this September. Tickets <a contents="HERE" data-link-label="" data-link-type="url" href="https://www.bandsintown.com/a/13361145?came_from=257" target="_blank">HERE</a></p>
<p>Sep 09 Chicago, IL @ Empty Bottle <br>Sep 10 Detroit, MI @ Deluxx Fluxx <br>Sep 11 Toronto, ON @ Baby G <br>Sep 12 Montreal, QC @ La Vitrola <br>Sep 13 Providence, RI @ The Columbus Theater w/ The Body<br>Sep 14 Hudson, NY @ Basilica Soundscape <br>Sep 15 Brooklyn, NY @ Public Records <br>Sep 17 Philadelphia, PA @ PhilMOCA </p>
<p>Nov 08 Austin, TX @ Levitation </p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957652019-05-24T13:53:33-07:002020-01-13T11:27:51-08:00"Butcher of the World" 6 Best New Songs Out Right Now // Revolver<p><a contents="" data-link-label="" data-link-type="url" href="https://www.revolvermag.com/music/6-best-new-songs-right-now-52419" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/df535c5650cd6d30a36d914b4e1a2c9b2d049c61/original/revolver-fnl-jpg.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" style="text-align: center;" /></a></p>
<figure class="tmblr-full" data-orig-height="104" data-orig-width="751"><p style="text-align: center;"><a contents="" data-link-label="" data-link-type="url" href="https://www.revolvermag.com/music/6-best-new-songs-right-now-52419" target="_blank"><img src="https://66.media.tumblr.com/e1a7ec58cc917a15c8f9caeebf8fdf60/tumblr_inline_ps12181asD1qbzv4w_540.png" class="size_orig justify_inline border_" /></a><br><a contents="" data-link-label="" data-link-type="url" href="https://www.revolvermag.com/music/6-best-new-songs-right-now-52419" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/300646dbf11d7f847ff7eff92f79d120e4487bc9/original/screen-shot-2019-05-24-at-2-21-11-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></a></p></figure>
<p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="uH10IyS2FOc" data-video-thumb-url="https://img.youtube.com/vi/uH10IyS2FOc/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/uH10IyS2FOc?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="364" width="600" allowfullscreen="true"></iframe></p>
<p><a contents="Lingua Ignota" data-link-label="" data-link-type="url" href="http://sargenthouse.com/lingua-ignota" target="_blank">Lingua Ignota</a> - "Butcher of the World" <br>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.</p>
<p style="text-align: center;"> </p>
<p><em>read the full article via Revolver <a contents="here" data-link-label="" data-link-type="url" href="https://www.revolvermag.com/music/6-best-new-songs-right-now-52419" target="_blank">here</a></em></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957662019-05-20T12:09:18-07:002020-01-13T11:27:52-08:00Lingua Ignota Shares ‘Butcher of the World’ + Announces New LP <figure class="tmblr-embed tmblr-full" data-orig-height="364" data-orig-width="600" data-provider="youtube" data-url="https%3A%2F%2Fyoutu.be%2FuH10IyS2FOc"><p style="text-align: center;"><iframe allowfullscreen="allowfullscreen" frameborder="0" height="364" id="youtube_iframe" src="https://www.youtube.com/embed/uH10IyS2FOc?feature=oembed&enablejsapi=1&origin=https://safe.txmblr.com&wmode=opaque" width="600"></iframe></p></figure>
<p><a contents="via The Quietus" data-link-label="" data-link-type="url" href="https://thequietus.com/articles/26510-lingua-ignota-new-album-caligula" target="_blank"><em>via The Quietus</em></a></p>
<p><a href="https://sargenthouse.com/blogs/sargenthouse.com/lingua-ignota">LINGUA IGNOTA</a> has announced a new album, <i>CALIGULA</i>, to be released by <a href="https://profoundlorerecords.com/linguaignota/">Profound Lore</a> on July 19. You can listen to the lead track 'BUTCHER OF THE WORLD' <a contents="here" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=uH10IyS2FOc" target="_blank">here</a>. </p>
<p>Kristin Hayter follows up two self-released albums from 2017 (<i>Let The Evil Of His Own Lips Cover Him</i> and <i>All Bitches Die</i>) 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.</p>
<p>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).</p>
<p>CALIGULA can be pre-ordered here. <br>US: <a contents="hellomerch.com/collections/lingua-ignota&nbsp;" data-link-label="" data-link-type="url" href="http://hellomerch.com/collections/lingua-ignota" target="_blank">hellomerch.com/collections/lingua-ignota </a><br>EU: <a contents="https://evilgreed.net/collections/lingua-ignota&nbsp;" data-link-label="" data-link-type="url" href="https://evilgreed.net/collections/lingua-ignota" target="_blank">https://evilgreed.net/collections/lingua-ignota </a><br>or Label: <a contents="https://profoundlorerecords.com/linguaignota/" data-link-label="" data-link-type="url" href="https://profoundlorerecords.com/linguaignota/" target="_blank">https://profoundlorerecords.com/linguaignota/</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957672019-05-16T16:28:54-07:002020-01-13T11:27:52-08:00Lingua Ignota + Author & Punisher Interview // Evil Greed<figure class="tmblr-embed tmblr-full" data-orig-height="364" data-orig-width="600" data-provider="youtube" data-url="https%3A%2F%2Fyoutu.be%2FUUPFlLQFAks"><p style="text-align: center;"><iframe allowfullscreen="allowfullscreen" frameborder="0" height="364" id="youtube_iframe" src="https://www.youtube.com/embed/UUPFlLQFAks?feature=oembed&enablejsapi=1&origin=https://safe.txmblr.com&wmode=opaque" width="600"></iframe></p></figure>
<p><a href="https://evilgreed.net/collections/lingua-ignota">EVIL GREED</a> invited Kristin Hayter (<a data-link-label="Lingua Ignota" data-link-type="page" href="https://sargenthouse.com/lingua-ignota" target="_blank">Lingua Ignota</a>) and Tristan Shone (Author & Punisher) to talk about their favorite records including Full of Hell, Yob, Ulver, Thou, The Body, Amenra, Chelsea Wolfe, Sunn O))), Sleep, Boris and Merzbow.<br><br><a contents="(youtube link)" data-link-label="" data-link-type="url" href="https://www.youtube.com/watch?v=UUPFlLQFAks&feature=youtu.be&fbclid=IwAR0lHw0skxTvdEU01yKI0zNqeGvRM43JItKmCNXNP85MCsa9ssTsqrrQ-Zo" target="_blank">(youtube link)</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957682019-05-15T13:09:53-07:002020-01-13T11:27:52-08:0015 Noise and Experimental Artists You Should Know // FLOOD Magazine<p><a contents="" data-link-label="" data-link-type="url" href="http://floodmagazine.com/61131/15-noise-experimental-artists-you-should-know/" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/b2e54e1ead5f87afe833078d90495d52265d44b3/original/screen-shot-2019-05-15-at-1-00-53-pm-copy.png/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_" /></a></p>
<p style="text-align: center;"><a contents="" data-link-label="" data-link-type="url" href="http://floodmagazine.com/61131/15-noise-experimental-artists-you-should-know/" target="_blank"><img src="https://66.media.tumblr.com/a7e1198b14b37c1e050553b20a8f3998/tumblr_inline_prkcvezOnv1qe8a39_540.png" class="size_orig justify_inline border_" /></a><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="364" id="youtube_iframe" src="https://www.youtube.com/embed/mVGMJPQNZ34?feature=oembed&enablejsapi=1&origin=https://safe.txmblr.com&wmode=opaque" width="600"></iframe></p>
<p><em><a contents="full article via FLOOD mag, here" data-link-label="" data-link-type="url" href="http://floodmagazine.com/61131/15-noise-experimental-artists-you-should-know/" target="_blank">full article via FLOOD mag here</a></em></p>
<p>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. </p>
<p>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.” </p>
<p>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.”</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957692019-05-07T12:50:05-07:002020-01-13T11:27:52-08:00Live Review at Roadburn Festival 2019 // Rock Freaks<p style="text-align: center;"><a contents="" data-link-label="" data-link-type="url" href="http://rockfreaks.net/features/309?fbclid=IwAR1y-w6fYl_rVKteKtOiASttqseLED4s2b3DLpafBkcfahBx0_YnsbkJ7qI" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/0c46aecd9584c005bd304de601d7f0904a8f359f/original/rb19-linguaignota-1.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a></p>
<p><span class="font_large"><strong>Lingua Ignota @ 18:45 in Green Room // ROADBURN FESTIVAL 2019</strong></span><br><br>Having had the pleasure of witnessing <a contents="Lingua Ignota" data-link-label="" data-link-type="url" href="https://www.facebook.com/linguaignotamusic/" target="_blank">Lingua Ignota</a> 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.</p>
<p>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<br><br><a contents="(full feature via Rock Freaks)" data-link-label="" data-link-type="url" href="http://rockfreaks.net/features/309?fbclid=IwAR1y-w6fYl_rVKteKtOiASttqseLED4s2b3DLpafBkcfahBx0_YnsbkJ7qI" target="_blank">(full feature via Rock Freaks)</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957702019-05-01T14:15:53-07:002020-01-13T11:27:52-08:00Lingua Ignota Featured on Full Of Hell's New Track <p style="text-align: center;"><iframe class="justify_inline" data-video-type="youtube" data-video-id="XkS7PSB5iH4" data-video-thumb-url="https://img.youtube.com/vi/XkS7PSB5iH4/mqdefault.jpg" type="text/html" src="https://www.youtube.com/embed/XkS7PSB5iH4?rel=0&wmode=transparent&enablejsapi=1" frameborder="0" height="360" width="600" allowfullscreen="true"></iframe></p>
<p>Lingua Ignota is featured on Full of Hell's new track, "Armory of Obsidian Glass" from their upcoming album <em>WEEPING CHOIR. </em></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957712019-04-24T10:42:27-07:002020-01-13T11:27:53-08:00Lingua Ignota at Levitation 2019<p><a contents="" data-link-label="" data-link-type="url" href="https://www.eventbrite.com/e/deafheaven-russian-circles-emma-ruth-rundle-brutus-jaye-jayle-tickets-60692085662" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/4fa3b216b5f69cb24380725c3e1dae8d136a8509/original/levitation-2019-sargent-house-square-web.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a>Lingua Ignota will be performing at Levitation 2019 in Austin, TX for a special Sargent House showcase with Deafheaven, Russian Circles, Brutus, Emma Ruth Rundle, Jaye Jayle. Tickets <a contents="HERE" data-link-label="" data-link-type="url" href="https://www.eventbrite.com/e/deafheaven-russian-circles-emma-ruth-rundle-brutus-jaye-jayle-tickets-60692085662" target="_blank">HERE</a>.</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957722019-04-18T12:24:24-07:002020-01-13T11:27:53-08:00 'This has been fantastic revenge' // THE GUARDIAN<p><a contents="" data-link-label="" data-link-type="url" href="https://www.theguardian.com/music/2019/apr/18/this-has-been-fantastic-revenge-metal-musician-lingua-ignota-on-surviving-abuse" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/eca5be1190ec4f9b51a2bbd947cd4e5c9f17e8da/original/guardi.png/!!/undefined/b:W1sic2l6ZSIsIm1lZGl1bSJdXQ==.png" class="size_m justify_center border_none" alt="" /><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/5c20269888434781bba72780274697aaed69e458/original/screen-shot-2019-04-22-at-11-13-05-am.png/!!/b:W10=.png" class="size_l justify_center border_" /></a><a contents="" data-link-label="" data-link-type="url" href="https://www.theguardian.com/music/2019/apr/18/this-has-been-fantastic-revenge-metal-musician-lingua-ignota-on-surviving-abuse" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/a50c00249c1a9f966a9db141dee8350931f6bcd6/original/6046.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a></p>
<p><a contents="full article via The Guardian" data-link-label="" data-link-type="url" href="https://www.theguardian.com/music/2019/apr/18/this-has-been-fantastic-revenge-metal-musician-lingua-ignota-on-surviving-abuse" target="_blank"><em>full article via </em></a><em><a contents="The Guardian" data-link-label="" data-link-type="url" href="https://www.theguardian.com/music/2019/apr/18/this-has-been-fantastic-revenge-metal-musician-lingua-ignota-on-surviving-abuse" target="_blank">The Guardian</a></em></p>
<p>Kristin Hayter believes extreme music is overdue a reckoning with misogyny and violence – and uses her own ‘survivor anthems’ to spread the word.<br><br><a contents="Lingua Ignota" data-link-label="" data-link-type="url" href="https://www.facebook.com/linguaignotamusic/" target="_blank">Lingua Ignota</a> is swinging a pair of bright-white lights from her arms and screaming on the floor of the London venue Electrowerkz. Her intense industrial electronics and guttural growls startle the crowd; when she breaks into her haunted cover of Jolene, they are stunned into silence. “I want people to have to deal with me in a way that they don’t usually have to deal with someone on a stage,” she says later. “Nobody really expects to be the subject of someone else’s concert.” </p><!-- more -->
<p>Lingua Ignota, AKA Kristin Hayter, is a survivor of abuse who calls her hybrids of folk, spiritual, industrial and metal music “survivor anthems”. Two years ago, the Rhode-Island-based musician self-released an album called All Bitches Die. Its emotional rawness – all anguished howling and spitting fury – paired with moments of melodic beauty give it an extraordinary power. She is unflinching in her descriptions of violence (“He beat me till my teeth were scattered / Like pearls across the red, red ground”) and her hunger for revenge (“I repay evil with evil”).</p>
<p>Extreme music is overdue a reckoning with misogyny and violence – Hayter says one of her abusers was “a very powerful noise musician in the Providence community” – making her use of heavy music as a tool for catharsis even more remarkable. “A lot of my work comes out of extreme music and heavy music that’s in a misogynist context,” she says. “I’m trying to re-contextualise that phallocentric format for people who need it.”</p>
<p>Hayter says she wants to challenge the idea of “civilised femininity” and survivorhood: “Most things I read about surviving espouse socially acceptable self-care.” While Hayter doesn’t want to undermine individual responses to abuse, she is attempting to expand what it looks like to be a survivor. “There’s so many layers to survivorhood,” she says. “There’s rage and despair and we don’t really talk about that.” </p>
<p>On the track All Bitches Die (All Bitches Die Here), she sings: “Sinner, you’d better get ready” – borrowed from the spiritual of that name – a sentiment she sharpens into a violent threat: “You can’t run, I’ll find you / I’ll bind your feet to hell and drag you down … I’ll snap your legs in two.” Recently, Hayter has found herself renouncing her teenage atheism and becoming obsessed with Roman Catholic iconography, its good-versus-evil dichotomy and teachings of divine vengeance. “It is all-powerful and there’s a finality to it, a stoneness, an unquestionableness, that I like a lot.” </p>
<p>She admits that regularly performing her harrowing material can get “a little suffocating”, but like the mystic Hildegard of Bingen, who claimed to divinely channel an unknown language – known as lingua ignota – Hayter says that when other survivors tell her how deeply her work resonates with them, she feels like a conduit for something bigger. “It becomes less about me. People tell me it’s the work they needed to hear, and that helps me as well.” </p>
<p>Classically trained in piano and voice, Hayter studied interdisciplinary creative arts in Chicago before doing a master’s at Brown in Providence. As she started performing in the city, word of mouth spread. A friend shared All Bitches Die with Chris Bruni, of the influential extreme label Profound Lore, who reissued it in 2018 to acclaim from the experimental music community. </p>
<p>Hayter considers her success a rebuke to her abusers, especially because “bad people are inescapable” in extreme music circles. “I was lucky to be welcomed into the scene by [the avant-metal band] The Body, because they surround themselves mostly with good people and are always like: ‘Don’t play with this person, they suck’ ... I just played a metal fest in Denmark and I was frantically Googling all the bands on the lineup, because you don’t know. It’s such a minefield.” </p>
<p>Although Hayter says it is impossible to control a narrative once it has been made public, she feels as though people are starting to listen to what she has to say. “But how much will they listen I don’t know,” she says. Her next album, forthcoming on Profound Lore, was “a lot rougher” to make than All Bitches Die. “It’s about my experience in Providence, speaking out about abuse and feeling invalidated, and people who I thought were my friends no longer being my friends, and the crushing experience of how that feels,” she says. </p>
<p>Hayter adds that Lingua Ignota is not just about catharsis, but also transformation and retribution. “Because I don’t get to enact violence or murder my abusers; I get to make music instead, and this has been fantastic revenge,” she says. “If everything ends tomorrow, I already won.”</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957732019-04-11T12:13:53-07:002020-09-08T02:42:17-07:00Lingua Ignota Interview // Create and Destroy Podcast<figure class="tmblr-full" data-orig-height="741" data-orig-width="741"><a contents="" data-link-label="" data-link-type="url" href="https://createanddestroy.podbean.com/e/episode-25-kristin-hayter-of-lingua-ignota/?fbclid=IwAR0KA-palBJEggMQwntYtcBfG9cujsywbf1aGGNNbDSbSIdo-iR62X87Heo" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/62ca1a519889377747a6c83b8620f1fd944e1f8b/original/d3uyfonuuaattaz.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a></figure>
<p><i><a href="https://createanddestroy.podbean.com/e/episode-25-kristin-hayter-of-lingua-ignota/?fbclid=IwAR0KA-palBJEggMQwntYtcBfG9cujsywbf1aGGNNbDSbSIdo-iR62X87Heo" target="_blank">Interview via Create and Destroy Podcast</a></i><br><br>Adhering to the tropes of certain musical genres is not something that appeals to <a href="http://sargenthouse.com/lingua-ignota" target="_blank">Lingua Ignota</a>’s Kristin Hayter. In fact, Kristin’s hopes with Lingua Ignota it to create a genre of music that is in a realm of its own. By integrating elements of metal, noise, industrial, and classical into her music, Lingua Ignota obliterates its listeners, pounds away at them, all while exploring themes of torment, abuse, and the wrath of an ever-present and vengeful god. Dan sat down with Kristin to discuss her music, her recent tour in Europe with Amenra, religion, and the weird ass noise that peacocks make. </p>
<p><iframe data-name="pb-iframe-player" frameborder="0" height="122" scrolling="no" src="https://www.podbean.com/media/player/7trwh-ad5b8d?from=site&skin=1&share=1&fonts=Helvetica&auto=0&download=1&version=1" width="100%"></iframe></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957742019-03-11T16:21:41-07:002020-01-13T11:27:53-08:00LINGUA IGNOTA INTERVIEW ON NINE INCH NAILS ‘DOWNWARD SPIRAL’ // REVOLVER<figure class="tmblr-full" data-orig-height="137" data-orig-width="1091"><p style="text-align: center;"><img src="https://66.media.tumblr.com/0a55a37173f3c82af3cdc16b9b7df645/tumblr_inline_po85mdvEJ31qbzv4w_540.jpg" class="size_orig justify_inline border_" /></p></figure>
<figure class="tmblr-full" data-orig-height="160" data-orig-width="873"><p style="text-align: center;"><a contents="" data-link-label="" data-link-type="url" href="https://www.revolvermag.com/music/nine-inch-nails-downward-spiral-lingua-ignota-albums-sacred-profane-motifs" target="_blank"><img src="https://66.media.tumblr.com/fe3c845f4e90414b48760f2b3e5860e6/tumblr_inline_po85lnsCC51qbzv4w_540.png" class="size_orig justify_inline border_" /></a></p></figure>
<figure class="tmblr-full" data-orig-height="376" data-orig-width="671"><a contents="" data-link-label="" data-link-type="url" href="https://www.revolvermag.com/music/nine-inch-nails-downward-spiral-lingua-ignota-albums-sacred-profane-motifs" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/62fc625ce689699303ddd19e85b148a76e824722/original/tumblr-inline-po85modswc1qbzv4w-540.png/!!/b:W10=.png" class="size_l justify_center border_" /></a></figure>
<p><a contents="Full feature via REVOLVER" data-link-label="" data-link-type="url" href="https://www.revolvermag.com/music/nine-inch-nails-downward-spiral-lingua-ignota-albums-sacred-profane-motifs" target="_blank">Full feature via </a><a href="https://www.revolvermag.com/music/nine-inch-nails-downward-spiral-lingua-ignota-albums-sacred-profane-motifs" target="_blank">REVOLVER</a></p>
<p>When Nine Inch Nails released their second full-length album, The Downward Spiral, on March 8th, 1994, it immediately sent shock waves through the alternative music scene with its bold concept (Trent Reznor's dark examination of obsession, suffering and self-destruction) and even bolder industrial-rock sound and expert songcraft. Not long after, thanks to inimitable singles like "Closer," the album became a surprise mainstream hit and against all odds now ranks as one of the decade's most commercially successful albums, as well as one of its most artistically enduring. On the eve of The Downward Spiral's 25th birthday, we asked some of our favorite contemporary musicians to talk about their experiences with this pivotal record.<br><br>Below, <a data-link-label="" data-link-type="url" href="https://www.facebook.com/linguaignotamusic" target="_blank">Lingua Ignota</a> mastermind Kristin Hayter explains why Downward represents “an era of crushing pubescent defeat, self-loathing, unstoppable acne, braces” and how Trent Reznor’s complex architectural compositions influenced her own creativity.</p><!-- more -->
<figure class="tmblr-embed tmblr-full" data-orig-height="304" data-orig-width="540" data-provider="youtube" data-url="https%3A%2F%2Fyoutu.be%2FdKd6oUalc0Y"><p style="text-align: center;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="304" id="youtube_iframe" src="https://www.youtube.com/embed/dKd6oUalc0Y?feature=oembed&enablejsapi=1&origin=https://safe.txmblr.com&wmode=opaque" width="540"></iframe></p></figure>
<p><b>TALK ABOUT THE FIRST TIME YOU HEARD THE DOWNWARD SPIRAL, AND HOW YOU DISCOVERED IT.</b><br>KRISTIN HAYTER The first time I heard The Downward Spiral I was maybe 12 years old, which was still many years after its release. I probably saw the video for “Closer.” I became deeply obsessed with Nine Inch Nails.</p>
<p><b>WHAT DOES THE DOWNWARD SPIRAL MEAN TO YOU?</b><br>For me it represents an era of crushing pubescent defeat and self-loathing, unstoppable acne, braces, awkward attempts to express myself with mesh and combat boots under my gym clothes, and kids telling me to kill myself a lot. Sonically, The Downward Spiral was a gateway into industrial music and then noise and experimental. It’s not too difficult to get from Nine Inch Nails to Neubauten to Merzbow.</p>
<figure class="tmblr-embed tmblr-full" data-orig-height="304" data-orig-width="540" data-provider="youtube" data-url="https%3A%2F%2Fyoutu.be%2FSAxiz4L4ZGU"><p style="text-align: center;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="304" id="youtube_iframe" src="https://www.youtube.com/embed/SAxiz4L4ZGU?feature=oembed&enablejsapi=1&origin=https://safe.txmblr.com&wmode=opaque" width="540"></iframe></p></figure>
<p><b>THE DOWNWARD SPIRAL BECAME AN UNEXPECTED MAINSTREAM HIT, THANKS TO SINGLES LIKE “CLOSER.” WHAT DID IT MEAN TO YOU THAT IT BECAME SO POPULAR? DID YOU FIND THIS EMPOWERING OR FEEL DISILLUSIONMENT?</b><br>I was 8 years old when The Downward Spiral came out, so too young to be an enraged punk. But generally I think it’s kinda cool when heavy and smart stuff mysteriously slips into the collective consciousness.</p>
<p><b>HOW, IF AT ALL, DID THE DOWNWARD SPIRAL INFLUENCE YOUR OWN CREATIVE DEVELOPMENT, OR THE WAY YOU THOUGHT ABOUT WRITING MUSIC?</b><br>Massive. I think Trent generally is a huge influence on me because he’s also a classically trained musician who integrates elements or fragments of classical composition into more abrasive settings. The Downward Spiral is not my favorite Nine Inch Nails release but it is the strongest example of Trent’s neat and architectural style of composition, the kinds of grids he builds. He uses a lot of signature formulas and conceits, structurally and melodically, like lines that begin minor and end major, which hit me hard because a lot of sacred music does the same thing, closing a dark phrase with an open major chord. Before I ever started making my own music, I would fuck around on my dad’s synth trying to make music like Trent, imposing layers on top of simple repeating motifs. Later I learned about all of the complex things he was doing with samplers and synths, and it’s amazing how he makes it sound so effortless and accessible. Total master.</p>
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<p><b>THE VIDEO FOR “CLOSER” WAS CHALLENGING FOR MANY VIEWERS,AND WAS CENSORED BY MTV. TALK ABOUT THE FIRST TIME THAT YOU SAW THE VIDEO.</b><br>There’s a lot going on in this video, I think at the time I was probably overwhelmed by the atmosphere created by all this imagery. Probably the only thing I really recognized or understood was the sacrilegious component as I was beginning to question my own faith at the time, and the song itself is so bizarre and such an unlikely pairing of styles, while also being vulgar and visceral, I think I was really kind of shocked and mesmerized. </p>
<figure class="tmblr-embed tmblr-full" data-orig-height="344" data-orig-width="459" data-provider="youtube" data-url="https%3A%2F%2Fyoutu.be%2FD5KlwGB9A5I"><p style="text-align: center;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="405" id="youtube_iframe" src="https://www.youtube.com/embed/D5KlwGB9A5I?feature=oembed&enablejsapi=1&origin=https://safe.txmblr.com&wmode=opaque" width="540"></iframe></p></figure>
<p><b>WHAT IS YOUR FAVORITE DOWNWARD SPIRAL TRACK, AND WHY?</b><br>Fuck the hits. I would say that for a long time it was “Reptile,” it has a really satisfying ebb and flow, and when he whispers, “GET IT” and it breaks down into that icy two note solo it’s so sick. But now I strongly feel that “Eraser” is the best track, it has a very strong build and the space it creates is very cool, very distant and then very close.</p>
<figure class="tmblr-embed tmblr-full" data-orig-height="344" data-orig-width="459" data-provider="youtube" data-url="https%3A%2F%2Fyoutu.be%2FkPz21cDK7dg"><p style="text-align: center;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="405" id="youtube_iframe" src="https://www.youtube.com/embed/kPz21cDK7dg?feature=oembed&enablejsapi=1&origin=https://safe.txmblr.com&wmode=opaque" width="540"></iframe></p></figure>
<p><b>IS THE DOWNWARD SPIRAL SOMETHING YOU REGULARLY GO BACK AND LISTEN TO? OR DOES IT REPRESENT A CERTAIN PERIOD OF TIME IN YOUR HISTORY?</b><br>It definitely encapsulates a moment of nascent goth. I recently put this on driving during the night from San Francisco to So Cal on the way home from tour. There are classics like “Hurt” that you hear in the ether still, but listening through is something I hadn’t done in a long time. It’s still brilliant and a lot of it holds up, especially in our current climate of nostalgia for dark electronic/industrial music.</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957752019-03-07T17:12:14-08:002020-01-13T11:27:54-08:00Lingua Ignota 2019 EU Tour with Author & Punisher<figure class="tmblr-full" data-orig-height="1200" data-orig-width="932"><p style="text-align: center;"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/0edcb62fda7b87021104b659d897a1c73e2ad481/original/litour.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></p></figure>
<p><a data-link-label="" data-link-type="url" href="https://www.facebook.com/linguaignotamusic/" target="_blank">Lingua Ignota</a>’s EU tour with Author & Punisher starts April 2 in Berlin. All tour info and tickets <b><a data-link-label="" data-link-type="url" href="https://www.bandsintown.com/a/13361145?affil_code=js_sargenthouse.com&app_id=js_sargenthouse.com&came_from=242&utm_campaign=artist&utm_medium=web&utm_source=widget" target="_blank">HERE</a></b><br> </p><!-- more -->
<p>APR 02 Berlin, DE @ Kantine Berghain <br>APR 03 Malmo, SE @ Plan B <br>APR 04 Gothenburg, SE @ Musikens Hus <br>APR 05 Aarhus, DK @ Royal Metal Fest <br>APR 06 Aalborg, DK @ Studenterhuset <br>APR 08 Antwerp, BE @ Trix <br>APR 09 London, UK @ Electrowerkz <br>APR 11 Tilburg, NL @ Roadburn Festival *<br>APR 14 Lille, FR @ Aeronoef <br>APR 15 Nantes, FR @ Le Ferrailleur <br>APR 16 Bordeaux, FR @ I-Boat <br>APR 17 Montpellier, FR @ The Black Sheep <br>APR 18 Düdingen, CH @ Bad Bonn <br>APR 19 Milano, IT @ Santeria <br>APR 20 Ljubljana, SI @ Klub Gromka APR 22 Prague, CZ @ Cross Club <br>APR 23 Wroclaw, PL @ DK Luksus <br>APR 24 Warsaw, PL @ Poglos <br>APR 25 Kosice, SK @ Tabačka Kulturfabrik <br>APR 26 Trnava, SK @ Malý Berlín <br>APR 27 Krems, AT @ Donau Festival * <br><br>Lingua Ignota only *</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957762019-02-12T15:31:58-08:002020-01-13T11:27:54-08:00Lingua Ignota Featured on Playlist by Nick Sadler of Daughters // self-titled magazine<figure class="tmblr-full" data-orig-height="260" data-orig-width="1347"><p style="text-align: center;"><a contents="" data-link-label="" data-link-type="url" href="http://www.self-titledmag.com/2019/02/12/daughters-feature-playlist/" target="_blank"><img src="https://66.media.tumblr.com/37a0ec0d3b575e8875f86d519f61ff35/tumblr_inline_pmu6fpwQoH1qbzv4w_540.jpg" class="size_orig justify_inline border_" /><img src="https://66.media.tumblr.com/0713315f290755461204410988b45bd8/tumblr_inline_pmu6g2Xurl1qbzv4w_540.png" class="size_orig justify_inline border_" /></a><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="304" id="youtube_iframe" src="https://www.youtube.com/embed/SAxiz4L4ZGU?feature=oembed&enablejsapi=1&origin=https://safe.txmblr.com&wmode=opaque" width="600"></iframe></p></figure>
<p>LINGUA IGNOTA – THAT HE MAY NOT RISE AGAIN<br><br>Starting off with <a href="http://sargenthouse.com/lingua-ignota" target="_blank">Lingua Ignota</a>, because I think above all, this music may have had the most impact on me during our off-years. These two Lingua Ignota releases—<a href="https://linguaignota.bandcamp.com/album/all-bitches-die-2" target="_blank">All Bitches Die</a> and <a href="https://linguaignota.bandcamp.com/album/all-bitches-die-2" target="_blank">Let the Evil of His Own Lips Cover Him</a>—are incredible and while there may be music for you to compare them to, I am fairly certain these are one-of-a-kind creations. Do not listen in haste; put aside time to let these albums sink in, and prepare for something emotionally demanding. Really looking forward to their next release.</p>
<p>Full feature via <a href="http://www.self-titledmag.com/2019/02/12/daughters-feature-playlist/" target="_blank">self-titled</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957772019-01-28T11:52:46-08:002020-01-13T11:27:54-08:00Lingua Ignota Announces EU Tour with Author & Punisher<figure class="tmblr-full" data-orig-height="603" data-orig-width="477"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/49a155042a3964ed27212bdaa45f36cc37a27140/original/screen-shot-2019-01-28-at-11-29-03-am.png/!!/b:W10=.png" class="size_l justify_center border_" /></figure>
<p><a href="https://www.facebook.com/linguaignotamusic" target="_blank">Lingua Ignota</a> has announced European tour dates with <a href="https://www.facebook.com/AuthorandPunisher/?__tn__=K-R&eid=ARCKLMpGhmrnHL42-7n0xbWvO-2YI3by61GgTaBIgtOWj17EFCHslJvc_6XrA-KDKcgoebHXAzIgXIeN&fref=mentions&__xts__%5B0%5D=68.ARATQldREABGPH8D1tSgInX6r-flfa4OMe_D9qyTRJPp27m2BKonG_U_J1D0kG5Nkj6N3bFyErQKff7V5ihAVWob6B9Zye7wxZ7HFMJRwuVhh95aRFHkiPRON7uDSZp8Xb7ngtZOBLMfksjMlVmUoMmiQIEuVTVjVAvMultxCEgrrZHYpVW5K45kXyGUuyAtCqH-eJTGI8jxhufEyvt7JUfeKfL3PmvwWDb_lNTv4876XUjKdFIrKxRbLFY7lHUW1rYua3Beu4v4j7lr3OpckBXgql-lPPUuHDZIdP_JBxC84B-1HUupYAXL-S2WZNsVVooreCFisw-MLPy9kg" target="_blank">Author & Punisher</a> after dates in Germany with <a href="https://www.facebook.com/churchofra/?__tn__=K-R&eid=ARDkFvCflSDBa3CFXMoAlg3NUuFldKzrk6fmFJqakimnr95x8T_xDqDYitNi9KSeHKFABX1otFGFRrJQ&fref=mentions&__xts__%5B0%5D=68.ARATQldREABGPH8D1tSgInX6r-flfa4OMe_D9qyTRJPp27m2BKonG_U_J1D0kG5Nkj6N3bFyErQKff7V5ihAVWob6B9Zye7wxZ7HFMJRwuVhh95aRFHkiPRON7uDSZp8Xb7ngtZOBLMfksjMlVmUoMmiQIEuVTVjVAvMultxCEgrrZHYpVW5K45kXyGUuyAtCqH-eJTGI8jxhufEyvt7JUfeKfL3PmvwWDb_lNTv4876XUjKdFIrKxRbLFY7lHUW1rYua3Beu4v4j7lr3OpckBXgql-lPPUuHDZIdP_JBxC84B-1HUupYAXL-S2WZNsVVooreCFisw-MLPy9kg" target="_blank">Amenra</a>.</p>
<p>with Amenra & E-L-R <br>FEB 15 Hamburg, DE @ Knust (sold out)<br>FEB 16 Berlin, DE @ Festsaal Kreuzberg (sold out)<br>FEB 17 Wiesbaden, DE @ Kulturzentrum Schlachthof (sold out)<br>FEB 18 Dortmund, DE @ Junkyard (sold out)</p>
<p>With Author & Punisher <br>APR 02 Berlin, DE @ Kantine Berghain <br>APR 03 Malmo, SE @ Plan B <br>APR 04 Gothenborg, SE @ Musikens Hus <br>APR 05 Aarhus, DK @ Royal Metal Fest <br>APR 06 Aalborg, DK @ Studenterhuset <br>APR 08 Antwerp, BE @ Trix <br>APR 09 London, UK @ Electrowerkz <br>APR 11 Tilburg, NL @ Roadburn Festival * <br>APR 14 Lille, FR @ Aeronoef <br>APR 15 Nantes, FR @ Le Ferrailleur <br>APR 16 Bordeaux, FR @ I-Boat <br>APR 17 Montpellier , FR @ The Black Sheep <br>APR 18 Düdingen, CH @ Bad Bonn <br>APR 19 Milano, IT @ Santeria <br>APR 20 Ljubljana, SI @ Club Gromka <br>APR 22 Prague, CZ @ Cross Club <br>APR 23 Wroclaw, PL @ DK Luksus <br>APR 24 Warsaw, PL @ Poglos <br>APR 25 Kosike, SK @ Tabačka Kulturfabrik <br>APR 26 Trnava, SK @ Malý Berlín <br>APR 27 Krems, AT @ Donau Festival *</p>
<p>Lingua Ignota only *</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957782019-01-07T12:31:02-08:002020-01-13T11:27:54-08:00Lingua Ignota featured on "45 Most Anticipated Albums of 2019" // Revolver<p><a contents="" data-link-label="" data-link-type="url" href="https://www.revolvermag.com/music/45-most-anticipated-albums-2019?fbclid=IwAR3FRgUzmtulKhwRrgXlegqnYZKUE45dxJUwqqbLlf6ooRXxPuPD4TY6l24#lamb-god" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/5a0d6e15a913066f4f0b0c96cde2e192473b2370/original/revolver-logo.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a><a contents="" data-link-label="" data-link-type="url" href="https://www.revolvermag.com/music/45-most-anticipated-albums-2019?fbclid=IwAR3FRgUzmtulKhwRrgXlegqnYZKUE45dxJUwqqbLlf6ooRXxPuPD4TY6l24#lamb-god" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/dda5ccca097a35a08ec67adc03025347fbfd5050/original/screen-shot-2019-01-07-at-4-13-28-pm.png/!!/b:W10=.png" class="size_l justify_center border_" /></a></p>
<p><a contents="" data-link-label="" data-link-type="url" href="https://www.revolvermag.com/music/45-most-anticipated-albums-2019?fbclid=IwAR3FRgUzmtulKhwRrgXlegqnYZKUE45dxJUwqqbLlf6ooRXxPuPD4TY6l24#lamb-god" target="_blank"><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/63bb0c9d359dcb61ffc998aac6bf8115a8b54644/original/lingua05.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" /></a></p>
<p>Kristin Hayter, a.k.a. Lingua Ignota, is not out to entertain. Her 2017 EP All Bitches Die is uneasy listening at its finest — an exorcism of extreme sounds and feeling that's been described as "liturgical power electronics, operatic brutalism, beautified death industrial, 'Girl Swans'" — and her live performances are often physically injurious and always emotionally grueling. How much of herself will she sacrifice for her next record? Enough that we won't be able to look away.</p>
<p><em>full article via RevolverMag: <a contents="here" data-link-label="" data-link-type="url" href="https://www.revolvermag.com/music/45-most-anticipated-albums-2019?fbclid=IwAR3FRgUzmtulKhwRrgXlegqnYZKUE45dxJUwqqbLlf6ooRXxPuPD4TY6l24#lamb-god">here</a></em></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957792018-12-17T11:43:08-08:002020-01-13T11:27:55-08:00Daughters' Alexis Marshall Picks Lingua Ignota as 2018 Highlight // Revolver<figure class="tmblr-full" data-orig-height="137" data-orig-width="1091"><p style="text-align: center;"><img src="https://66.media.tumblr.com/0a55a37173f3c82af3cdc16b9b7df645/tumblr_inline_pjwb35KeVj1qbzv4w_540.jpg" class="size_orig justify_inline border_" alt="image" /></p></figure>
<figure class="tmblr-full" data-orig-height="145" data-orig-width="894"><p style="text-align: center;"><a contents="" data-link-label="" data-link-type="url" href="https://www.revolvermag.com/music/best-2018-daughters-alexis-marshall-picks-favorite-music-movies-sports-event#lingua-ignota-live" target="_blank"><img src="https://66.media.tumblr.com/8b8beecc61e02d8847f70ece44920d16/tumblr_inline_pjwb4dmPWG1qbzv4w_540.png" class="size_orig justify_inline border_" alt="image" /><img src="https://66.media.tumblr.com/4d293d0d2ef549f671945adc4a86ed9a/tumblr_inline_pjwb4ouFP41qbzv4w_540.jpg" class="size_orig justify_inline border_" alt="image" /></a></p></figure>
<p>Full article via <a href="https://www.revolvermag.com/music/best-2018-daughters-alexis-marshall-picks-favorite-music-movies-sports-event#lingua-ignota-live" target="_blank">Revolver Magazine </a><br><br>Singer Alexis Marshall and his band certainly made their mark on 2018, and 2018 made an impression him, too. We asked the Daughters frontman to share some of the highlights from the past 11 months and counting. Below is what he offered up.</p>
<figure class="tmblr-embed tmblr-full" data-orig-height="304" data-orig-width="540" data-provider="youtube" data-url="https%3A%2F%2Fyoutu.be%2FCKB5Z0S4Yvs"><p style="text-align: center;"><iframe allowfullscreen="" frameborder="0" height="304" src="https://www.youtube.com/embed/1LGOivgX6Vg?feature=oembed&enablejsapi=1&origin=https://safe.txmblr.com&wmode=opaque" width="540"></iframe></p></figure>
<p><a data-link-label="" data-link-type="url" href="https://www.facebook.com/linguaignotamusic" target="_blank">Lingua Ignota Live</a><br><br>Kristen [Hayter, a.k.a. Lingua Ignota] is doing something truly important in music. Her live sets are ripe with vulnerability and compassion – terror and anxiety. Her commitment to art and the emotional and physical cost her own performances demand of her, is precisely how it should be done.</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957802018-12-12T10:54:07-08:002020-01-13T11:27:55-08:00Intense Lingua Ignota Full Set // CVLT Nation<figure class="tmblr-full" data-orig-height="84" data-orig-width="600"><p style="text-align: center;"><img src="https://66.media.tumblr.com/ff50ca348e90e142cef0af32567a657f/tumblr_inline_pjn077rkJd1qbzv4w_540.png" class="size_orig justify_inline border_" /><img src="https://66.media.tumblr.com/2dbcc4a991d1facf41bfc44f0e1aeca4/tumblr_inline_pjn094yN271qbzv4w_540.png" class="size_orig justify_inline border_" /><a contents="" data-link-label="" data-link-type="url" href="https://www.cvltnation.com/bitches-die-witness-intense-lingua-ignota-full-set/" target="_blank"><img src="https://66.media.tumblr.com/ddeb85a28500331b736ab0e86a882592/tumblr_inline_pjn09fZGkD1qbzv4w_540.png" class="size_orig justify_inline border_" /></a></p></figure>
<p>Via <a href="https://www.cvltnation.com/bitches-die-witness-intense-lingua-ignota-full-set/" target="_blank">CVLT Nation</a><br><br>What show blew mind this year? <a href="http://sargenthouse.com/lingua-ignota" target="_blank">Lingua Ignota</a>, when I saw her perform with The Body. Check out this intense full set that was captured by JVPHOTOANDVIDEO. Lingua Ignota’s new LP <i>All Bitches Die</i> is out now via<a href="https://linguaignota.bandcamp.com/album/all-bitches-die-2" target="_blank"> Profound Lore</a>!</p>
<figure class="tmblr-embed tmblr-full" data-orig-height="304" data-orig-width="540" data-provider="youtube" data-url="https%3A%2F%2Fyoutu.be%2F1LGOivgX6Vg"><p style="text-align: center;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="304" id="youtube_iframe" src="https://www.youtube.com/embed/1LGOivgX6Vg?feature=oembed&enablejsapi=1&origin=https://safe.txmblr.com&wmode=opaque" width="540"></iframe></p></figure>Sargent Housetag:www.sargenthouse.com,2005:Post/60957812018-12-04T15:58:12-08:002020-01-13T11:27:55-08:00German Shows with Amenra February 2019<p><img src="https://d10j3mvrs1suex.cloudfront.net/u/159790/3bfd1a1ed0f66f234d4cd01c0497d35cbdb3b2a0/original/amenratouradmat-630x883.jpg/!!/b:W10=.jpg" class="size_l justify_center border_" />Lingua Ignota will be joining Amenra and E-L-R for shows in Germany. </p>
<p>Feb 15 - Hamburg - Knust <br>Feb 16 - Berlin - Festsaal Kreuzberg<br>Feb 17 - Wiesbaden - Schlachthof <br>Feb 18 - Dortmund - Junkyard </p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957822018-12-04T14:08:10-08:002020-01-13T11:27:55-08:00Lingua Ignota Announced at Roadburn 2019<p style="text-align: center;"><a contents="" data-link-label="" data-link-type="url" href="https://roadburn.com/band/lingua-ignota/" target="_blank"><img src="https://66.media.tumblr.com/ba17e9dfe387275201de0fcf136a4b80/tumblr_inline_pj8g00tTiI1qbzv4w_540.png" class="size_orig justify_inline border_" /></a></p>
<p><a contents="Lingua Ignota" data-link-label="" data-link-type="url" href="https://www.facebook.com/linguaignotamusic" target="_blank">Lingua Ignota</a> will be performing at Roadburn 2019 in Tilburg, Netherlands on Thursday, April 11. <br>Announcement link <a contents="HERE" data-link-label="" data-link-type="url" href="https://roadburn.com/band/lingua-ignota/" target="_blank">HERE</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957832018-12-04T14:01:48-08:002020-09-08T02:30:04-07:00Lingua Ignota: Kristin Hayter is the Hero We Need // CVLT Nation<figure class="tmblr-full" data-orig-height="84" data-orig-width="600"><p style="text-align: center;"><a contents="" data-link-label="" data-link-type="url" href="https://www.cvltnation.com/linguaignota/" target="_blank"><img src="https://66.media.tumblr.com/ff50ca348e90e142cef0af32567a657f/tumblr_inline_pj8fgzXRbw1qbzv4w_540.png" class="size_orig justify_inline border_" /></a><img src="https://66.media.tumblr.com/4c798f36b55b851db1b66a189bc92ae5/tumblr_inline_pj8fu9FLug1qbzv4w_540.png" class="size_orig justify_inline border_" /><a contents="" data-link-label="" data-link-type="url" href="https://www.cvltnation.com/linguaignota/" target="_blank"><img src="https://66.media.tumblr.com/04d917dba16ed9bede6dd6153b084774/tumblr_inline_pj8fiiaosr1qbzv4w_540.png" class="size_orig justify_inline border_" /></a></p></figure>
<p>Interview via <a contents="CVLT Nation" data-link-label="" data-link-type="url" href="https://www.cvltnation.com/linguaignota/" target="_blank">CVLT Nation</a></p>
<p>Musician, composer, artist and survivor are just a few words you can use to describe Kristin Hayter. Performing under the name Lingua Ignota, she creates a live show which has been unanimously described as an exorcism. Her mix of choral, black metal, industrial, classical and doom metal makes for an indescribable genera. She is a survivor of both a physically abusive relationship and anorexia, so she uses her voice and music as an art form to express rage, vengeance and fearlessness. Her latest album, “All Bitches Die” (Profound Lore Records) takes you on a spiritual journey to hell and you might feel like you are in the depths of an old Fulci movie. Artist like her are rare nowadays and audiences are known to leave her show in tears. I used this interview to let Kristin tell us her feelings about religion, her past relationship and her interaction with fans. She is the hero we all need.</p><!-- more -->
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<p>CN: <i>Your live performances are epic, and you often have referred to them as your body going through an exorcism. It is clear that raw feelings and thoughts are coming out of you. What was it like the very first time your performed your own music? Did you expect that your performance would be so physical and emotional? </i></p>
<p><b>KH</b>: I’ve been performing since I was maybe 8 years old beginning with church, but I think the first time I performed this particular music in front of people I was completely terrified and I feel like I probably sucked? It took me a while to balance the physical/emotional/technical aspects of the work; ostensibly I have to be able to sing well and with skill while still being semi-dissociated enough for it to be ecstatic or real, so over time as I become more comfortable with achieving that state the way I am a body in the room has changed. I feel like the movement used to be very intentional and referential, because the first iterations of this music were based on Stravinsky’s Rite of Spring and movement-wise I drew a lot of inspiration from Pina Bausch’s angular, violent interpretation of that. But these days I create situations of precariousness and entanglement, where certain things or everything could fall apart. I’ve started using utility lights in the sets, I drag them around and swing them and smash them, and during the last show of tour the lights got tangled so badly all the equipment came unplugged and the set ended abruptly, so I screamed at everyone unamplified and flipped everything over and tore apart all my gear and then was just overwhelmed by emotion and hyperventilated off-stage. Didn’t see that coming and don’t know if it was good but that’s what happened, and I really like experiences like that where no one in the room knows what’s coming next, it facilitates a lot of tension.</p>
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<p><i>Describe what your song writing process is. Does the music come first or the lyrics? Do you find writing your own music and lyrics to be difficult?</i></p>
<p><b>KH</b>: Usually the text comes first. Often the words are appropriated from another source and dramatically re-contextualized. When the text is, perhaps, biblical, it makes the storytelling allegorical, less confessional, and creates a degree of separation that allows me to work with pain in a less intimate way. I try to figure out what kind of sound world or timbres will be a nice counterpoint to the text, or what will augment it. I think about everything in the work being in service of the content or the message and how that content can be expressed in a compelling way, so for instance, if it’s a piece of very brutal and violent text, maybe an arpeggiated piano melody that gives a lot of space to the language will be most effective instead of burying the language in noise or a heavy beat. The text is often sort of allegorical and not a direct transcription of any particular experience. “He beat me until my teeth were scattered like pearls across the red red ground,” gives anachronism and poetry to what may actually have been: “he slammed my hand in a dresser drawer when I went to get a t-shirt, he threw me down on the bed, pinned me there, hitting me, and broke my wrist when I tried to get away, I ran outside and sobbed on the sidewalk, eventually a little girl from next door came out to me and asked if I wanted to have dinner with her family instead.” That’s somehow much more difficult to say, and even now almost impossible to write, so I put that in a different world, with different sounds. I have to create a reality divorced from mine for the music to exist in.</p>
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<p><i>You were raised Catholic and did go to Catholic school for a period. I personally had a difficult time in Catholic school and have related to the way you described feeling out casted once you entered public school. Discuss what your feelings are towards organized religion and do you identify with any particular religion nowadays?</i></p>
<p>Parochial school is a very specific kind of torture, right? It made me into an atheist, and for a long time I was extremely opposed to organized religion and to the concept of God, and felt that God had abandoned me. It took me a long time to get here, but today I’m a self-loathing semi-practicing Catholic, it’s complicated. I’ve always had a really strong affinity for spaces of worship, art and music of worship, and I love the pageantry and theatricality of catholicism, the kind of twisted materialism. I feel like organized religion is capable of such beauty and also capable of such evil and destruction, of fanaticism and abuse, and that God can bring either light or darkness depending into whose hands God falls; that’s a part of the work also. There’s a small contingent of Catholics in our community of music and we’re all very neurotic. I met so many people on the road who were also Catholic, or lapsed Catholics. And I met a few people who were raised Catholic, but who are trans or queer and felt shunned by their religion, but said that my music provided an opening, or a way to hear a hymn, and I feel deeply indebted to that response.</p>
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<p><i>You are currently working with Profound Lore records, and given all the genres that your music draws inspiration from it seems like this is a natural fit. How did this partnership happen? What is it about this label that made you comfortable?</i></p>
<p>My bud Dylan from Full of Hell turned Chris Bruni on to All Bitches Die, and Bruni sent me a message telling me how amazing he thought it was and asked if I was working on something new. One of my stipulations in working with a label was that I needed Bitches on vinyl, and he agreed to that pretty much immediately, and lo and behold there it is out in the world now! Bruni and I have a great rapport and talk openly and often about pretty much anything, he’s been nothing but respectful and supportive of my vision and super easy to work with.</p>
<p>Honestly, when he approached me I was kind of floored, I hadn’t thought that I would be on Profound Lore’s radar; it’s a label that is home to some seminal extreme stuff. I’m obsessed with Portal and Dalek, I love Full of Hell, Bell Witch. My work is also extreme in a way that made other labels uncomfortable, or I didn’t really encounter another label of Profound Lore’s caliber where it wasn’t implied that I would need to tone it down. Chris employs an art-for-art’s-sake curatorial approach, and puts out work he thinks is challenging. There’s a lot of progressive interesting music in that catalog, but like most extreme labels there is also work from people that I don’t agree with ideologically. I feel that my approach is to reframe and reclaim and often to hold space with my values, which I think are pretty clear.</p>
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<p><i>Do you find being a female artist, especially one as intelligent and strong as you, easy in the underground music world? Are you generally treated as an equal or are there moments when you have to deal with sexism, catcalling, or misogyny? </i></p>
<p>I mean, woof. Sometimes I’m like, oh it’s fine, I will rain destruction upon everyone, and other times I’m like no fucking way I can’t do this.</p>
<p>None of this is in any way unique to me, this is just how it is for a lot of us, but in the time since I started making this music I’ve been abused, called out abuse to avoid silence and had to scream for months to be heard, been dismissed and talked down to, been pursued and hit on in totally unacceptable ways, threatened, stalked, etc. You keep going. It’s fucked and there’s nothing you can do but you keep going, and hope you’re resilient enough to keep going when it happens again.</p>
<p>Yet it’s very important for me to maintain constant awareness of the privilege I have. I’m white, cis, well-educated, etc. As well: decades of work and sweat and blood from the queer community, women, POC, DIY and punk scenes, have made it possible for me to do what I’m doing. There are many many people who are extremely talented, smart, and have so much to say, and labor and suffer intensely to say it, and yet they might never achieve the visibility I have even right now, and I think artists with privilege need to help pull other people up who deserve to be seen. I’m mindful I need to do better.</p>
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<p><i>The song “All Bitches Die” is lyrically and musically intense. Calling women bitches and sinners in the same song, describing incidents of the domestic abuse you endured and survived. Did you write this during your relationship with your abuser or after? Do you have a lot of women tell you that your music has helped them through similar situations? </i></p>
<p>In that particular relationship there would have been no way in hell I could have made this work, I was in a position where I was being totally isolated and controlled, and anything that looked like disobedience or trying to somehow acknowledge the abuse would have resulted in very bad things happening to me. Making music just for school, or just getting to a class was difficult enough; he would drive me to and from and if I was three minutes late, or if I shut the car door too loudly, or I seemed excited about something i had learned, or was wearing the wrong thing — I would be punished, and I never knew what the punishment would be or when it would come.</p>
<p>I do have people share their stories and tell me that the music resonates with them, I have people who say the music helped them articulate a certain anguish, and it is not just women, or cis women, or abuse survivors. I think people can hear that the work is about honest pain and hear themselves in it then. It is absolutely the most humbling thing, a great honor, and I know I have a responsibility as an artist to do right by these people who open up to me or who connect to my work through their pain. My personal suffering is not greater than anyone else’s even though the allegorical speaker in my work is one of singular suffering. Survivors, all of us, are a community and we need to have each other’s backs. I can’t tell you how much it means for us to share space. I am realizing that, even though I want to die every day, I’m trying to stick around. People want me to succeed because they see themselves in me.</p>
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<p><i>Do men make you uncomfortable after what you have survived? I assume not as you work with several men and you have a clear vision and control as to how your art is presented. Have you found peace with what you have been through? What is the best way to help someone who is going through a similar situation or someone that is a survivor? </i></p>
<p>I am insanely fearful of all people: guarded, mistrustful, and I fully anticipate that everyone close to me will betray me. At the same time I still have to be a person in the world who functions in a day, who can laugh at a joke. I have a very masculine personality and can hang with men easily, and some of my closest friends are men. Separatism, for me, is unproductive; my work is less about hating men and more about elevating the survivor’s voice, and men, if change is going to happen, need to hear that voice. I’ve accepted that peace may not be in the cards for me. I think instead of personal happiness I’ve found my purpose in the music, and this is the way I get to reach out to people.</p>
<p>The best way to help a survivor is to believe them. Survivors are invalidated in the most profound and painful ways. Listen to them, Believe them, Ask what they need, and do it.</p>
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<p><i>Do you enjoy touring? Have you had any strange or memorable situations happen you can share with us?</i></p>
<p>I love tour and plan to tour a lot going forward. I think I don’t play typical sets so I don’t get typical responses. There are sets that erupt in crazy applause and there are sets that end with silence and people in tears or discomfort or misunderstanding or confusion or bemusement. I am very lucky to be able to tour with The Body, really special and wonderful friends, truly the best people, so generous and kind, who’ve been doing it a long time and only keep people around them who don’t suck, so I got to meet a lot of cool folks on this tour. We played a bunch of shows with Big Brave and they are so nice and such a good band and killed it every night. False, Thou, many others: great bands great people.</p>
<p>As far as the shows, In San Francisco there was a civilian style bro who unwisely chose to stand directly in front of me and talk through the whole set, and started yelling when the set got loud. I was like, ok, you want to be part of it you’re going to be part of it. I screamed in his face, blinded him with lights, and circled him to tangle him in cables and basically hogtied and tripped him. I mostly don’t want to touch anyone during my set but that was very satisfying. In NOLA people started chanting “Aileen” in salute to Aileen Wuornos when they heard her voice in the set. I got a lot of cool presents! My new friend Winslowe Dumaine flew from Chicago to Portland to give me an incredible tarot deck he created called the Tarot Restless, and said my music was important to him in its making. People made me pieces of art and showed me their sketchbooks or poetry, a real nice person gave me a velvet dress. A bachelorette party came to the LA show and they were the coolest, I don’t know it’s crazy! I’m just trash!</p>
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<p><i>Do you like interacting with fans before and after shows? What is the best way to approach you?</i></p>
<p>“Fans” is such a bizarre concept to me, honestly I’m a regular guy and I have no idea why anyone would want to talk to me in any context, but it really does mean a lot to me. I love to connect with people who show up for my work, everyone is so nice mostly, and it’s such an honor that people share their experiences with me. Sometimes people approach me within like 5 seconds after I’ve stopped playing and i tend to be kind of incoherent and crazed at that point, but generally I’m down to meet people at any point if they want to say hi. </p>
<p><i>What are the things that make you happy?</i></p>
<p>Jelly Beans, Extra Toasty Cheezits. Nostalgia by Tarkovsky. The first Home Alone. Bach. A nice church with no one in it. Bachelor in Paradise.</p>
<p><br>LEARN MORE ABOUT LINGUA IGNOTA:<br><a contents="https://linguaignota.bandcamp.com/album/all-bitches-die" data-link-label="" data-link-type="url" href="%E2%80%8B%E2%80%8B%E2%80%8B%E2%80%8B%E2%80%8B%E2%80%8B%E2%80%8Bhttps://linguaignota.bandcamp.com/album/all-bitches-die" target="_blank">https://linguaignota.bandcamp.com/album/all-bitches-die</a><br><a contents="https://www.facebook.com/linguaignotamusic/" data-link-label="" data-link-type="url" href="https://www.facebook.com/linguaignotamusic/" target="_blank">https://www.facebook.com/linguaignotamusic/</a></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957842018-12-04T13:49:59-08:002020-01-13T11:27:56-08:00Fire, Prayer & Curses: Lingua Ignota Interviewed // The Quietus<figure class="tmblr-full" data-orig-height="125" data-orig-width="403"><p style="text-align: center;"><a contents="" data-link-label="" data-link-type="url" href="http://thequietus.com" target="_blank"><img src="https://66.media.tumblr.com/833c3f4a971cfa731d934928e9216aeb/tumblr_inline_pj8f3yh5VW1qbzv4w_540.png" class="size_orig justify_inline border_" /></a></p>
<p style="text-align: center;"><a contents="" data-link-label="" data-link-type="url" href="http://thequietus.com/articles/23861-lingua-ignota-kristin-hayter-interviewed" target="_blank"><img src="https://66.media.tumblr.com/eb03f7a80d148768ce010be9184bc48f/tumblr_inline_pj8f328LLS1qbzv4w_540.png" class="size_orig justify_inline border_" /><img src="https://66.media.tumblr.com/9b4af36a9d6247e24a2521cee0f22b68/tumblr_inline_pj8f0zr5C41qbzv4w_540.png" class="size_orig justify_inline border_" /><img src="https://66.media.tumblr.com/6a8c103f6c4821a83649a7c3634ab818/tumblr_inline_pj8f72q6s61qbzv4w_540.png" class="size_orig justify_inline border_" /></a></p></figure>
<p>Interview via <a contents="The Quietus" data-link-label="" data-link-type="url" href="http://thequietus.com/articles/23861-lingua-ignota-kristin-hayter-interviewed" target="_blank">The Quietus</a> </p>
<p>The ‘lingua ignota’ - Latin for ‘unconstructed language’ or ‘unknown language’ - was created in the 12th century by the German philosopher, abbess, visionary, writer and composer Hildegard of Bingen. A modification of the Latin alphabet, it is no longer clear whether it was a secret language or an attempt at an ideal, universal tongue. Lingua Ignota also happens to be the pseudonym of Rhode Island-based musician Kristin Hayter and, despite the centuries dividing them, distinct parallels can be drawn between Hayter and Hildegard.</p><!-- more -->
<p>A profound sense of divinity lies at the core of Hayter’s work, but despite its choral moments and devout classical influences, her music can also be classed as noise. She combines diametrically opposed genres to sonically illustrate the reclamation of female power: rage fuels a furnace of righteousness, where the typical victim becomes the victor.</p>
<p>Hayter is a survivor of domestic abuse, and Hayter’s music serves as to support those in similar situations. She donates all proceeds of <i>Let The Evil Of His Own Lips Cover Him</i> to National Network To End Domestic Violence. But its benefit goes beyond that: this record reaps power by reclaiming harsh noise, aggression, ferocity - musical ideas that are often lazily written off as masculine.</p>
<hr><p style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=1410806034/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; width: 100%; height: 120px;">LET THE EVIL OF HIS OWN LIPS COVER HIM by LINGUA IGNOTA</iframe></p>
<p><b>You’re named after Hildegard of Bingen’s own language - is she an influence on your music?</b></p>
<p>Lingua Ignota: With Hildegard, I think of divine immolation. She wrote of “sparks of God” and “living light”, and in illustrations she’s depicted with flames surrounding her or rising from her head. God spoke to her through fire. I feel like I also speak through fire but God is not with me. My master’s thesis was called BURN EVERYTHING TRUST NO ONE KILL YOURSELF and its initial premise was survivors of violence reclaiming their bodies through self-immolation, this idea that violence begets violence, and that resistance and empowerment meant weaponising the self with fire - that nothing else was possible. Lingua Ignota translates to ‘unconstructed language’ and Hildegard was given it by God; ecstatic language. I’m trying to construct something that speaks the unspeakable, and so I use this sort of amalgam of musical devices to make my own sonic language which is meant to also be ecstatic or outside the self. There is always the urge to escape the body, to immolate.</p>
<p><b>How about the liturgical elements in your music - is religion important in your work?</b></p>
<p>LI: In line with divine immolation and self-weaponisation and the abandonment of the corporeal self, I’m also really interested in holy wrath, the idea that God, specifically this Christian God who may or may not exist, is so boundless and can bestow such blessings or such misery, and that only God can judge, and that God does judge. A lot of my songs can be read as prayers or curses, calling on the mercy or mercilessness of God. I play a lot with concepts of biblical good and evil, strange conflations of the two, sometimes embodying both. Often my lyrics are directly informed by biblical verse, ‘That He May Not Rise Again’ is a pretty close paraphrasing of Psalm 140 from the King James Bible.</p>
<p><b>Do you think within your music, particularly the more aggressive parts, you’re taken from a position where you’re be very vulnerable to being very powerful?</b></p>
<p>LI: Absolutely. The music is about reclaiming power that has been stolen. This is also where using tropes from male-dominated forms comes in - there’s so much language in, for instance, hardcore, that's like ‘death before dishonour’ or ‘blood for blood’, and I use a lot of that anthemic, aggressive phrasing and spit back language that has been used against me.</p>
<p><b>Why did you choose to combine two styles which are perhaps polar opposite?</b></p>
<p>LI: I’m trying to reformulate what ‘dark music’ or ‘extreme music’ means to me, and to make sure that all formal, structural and aesthetic decisions inform and augment the content. We often think of loud as aggressive and soft as tranquil, but I try to subvert those expectations. For instance, tracks like ‘The Chosen One’ and ‘Holy is the Name (of My Ruthless Axe)’ are both very quiet and repetitive sonically but very brutal lyrically, and in their bareness and focus they can be very uncomfortable to listen to in a way that may not have been effective if they were part of a heavy soundscape. Next to silence, the content becomes inescapable.</p>
<p>I use a lot of devices from noise, metal, grind, hardcore industrial, but also from classical music or specific vernacular folk forms. I think that sharp juxtapositions can be very destabilising, and that’s an effect I’m often striving for. You’re hearing things that are vaguely familiar but that are twisted into discord. Something that is somehow both beautiful and grotesque is maybe more powerful than either of those two things alone. I think this is part of why people, including myself, have such difficulty describing my music, or classifying it within a genre. It’s not neoclassical, it’s not metal, it’s not noise. The genres are tools I can combine to forcefully convey difficult material.</p>
<p><b>How is it for you being a woman within a sub-genre which has in the past been known for being quite notoriously misogynistic?</b></p>
<p>LI: It’s weird, and I’m often misunderstood. But I’m lucky. I’m able to surround myself with good people in these scenes, and I’m also lucky to have the opportunity to play shows where I might be the only woman performing and get to overturn people’s expectations, and that a lot of people have been open and receptive to what I do. Some people aren’t, and that’s okay.</p>
<p><b>Do you feel like that those connotations are eroding from industrial and power electronics?</b></p>
<p>LI: There is some erosion happening in that marginalised people are carving out space for themselves in these genres even if it is not freely given to them. Just a couple of examples - an artist like Moor Mother completely taking over using elements of industrial and power electronics to make protest music, and the Providence-based, one-woman project Visibilities using DIY lo-fi punk/noise aesthetics to make really complex work that addresses pain and gender. More artists are appropriating male-dominated aesthetics to serve really authentic and important identities. And queer people, women, trans people, people of colour - these people generally all have a much richer sense of community; they are more likely to support and bolster each other.</p>
<p style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3987451963/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; width: 100%; height: 120px;">ALL BITCHES DIE by LINGUA IGNOTA</iframe></p>
<p><b>I understand you’re classically trained, and obviously there’s some conservative attitudes towards transgressive music within that field. How was it being someone who was a fan of leftfield artists like Aaron Dilloway and Ornette Coleman?</b></p>
<p>LI: Classical voice is indeed conservative and quite hierarchical, and that’s a space where your worth as a vocalist can be fairly strictly quantified. I think if any of my past teachers heard how I vocalize these days they would shit a brick, although honestly I was a pretty difficult student so they may not be entirely surprised. I wanted to sing weird stuff in darker timbres. I had to teach myself to read Cyrillic and practice Russian diction on my own because I wanted to sing the art songs of Modest Mussorgsky, or works by Handel not written for the female voice, or music so early or unusual I couldn’t find any notation for it. These types of choices aren’t popular in the classical world, but there are similarities with contemporary experimental music or the 20th century avant-garde; the parallel movement and droning organum of some medieval work is pretty similar to some forms of metal, and baroque music usually allows for a lot of improvisation and free movement through a phrase.</p>
<p><b>Who are some other artists who you’d say have had a big impact on <i>All Bitches Die</i> and <i>Let The Evil Of His Own Lips Cover Him</i></b>?</p>
<p>LI: I try to keep the identity of each project distinct, so my inspirations come from fairly unusual sources, and not necessarily from contemporary artists or my peers. I am greatly influenced by the kindness and generosity and the work ethics of the artists I’m lucky enough to call my friends, but I work really hard to make sure I’m doing my own thing.</p>
<p>Unusual sources might mean film, fashion, canonical classical music, literature. <i>Let The Evil…</i>, for instance, is part of a larger song cycle which is heavily research-based and procedural and is indebted to Igor Stravinsky, Aileen Wuornos and pornogrind.</p>
<p>The cover art for <i>All Bitches Die</i> is a self-portrait that was inspired by French couturier Julien Fournié, who did a collection in 2010 dedicated to female martyrs. He sent his models down the runway with singed, charred faces and hands. I did a version of this that’s a little grosser, a little sloppier, a little closer to corpse paint, and the tears and snot are real.</p>
<p><i>All Bitches Die</i> is essentially a cycle of murder ballads loosely based on a book about survivor violence by Angela Browne called When Battered Women Kill. There is also a lot of inspiration taken from Pier Paolo Pasolini’s film Medea. I sample the soundtrack of this film in the track ‘Woe to All’ and images from the film appear in my projected live visuals. Maria Callas in the title role embodies this sort of perfect apotheosis of the weaponised, immolating self I mentioned above; she burns her own house down, killing herself and her children, screaming this phrase into the flames: “Niente e piu possible, ormai!” — nothing is possible anymore.</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957852018-12-04T13:42:11-08:002020-01-13T11:27:56-08:00On Her Striking New Album, Lingua Ignota Soars // The Village Voice<figure class="tmblr-full" data-orig-height="244" data-orig-width="678"><p style="text-align: center;"><a contents="" data-link-label="" data-link-type="url" href="https://www.villagevoice.com" target="_blank"><img src="https://66.media.tumblr.com/06c8683e219a5c6def15ba5cf60ec5a6/tumblr_inline_pj8es1iBfS1qbzv4w_540.jpg" class="size_orig justify_inline border_" /></a><a contents="" data-link-label="" data-link-type="url" href="https://www.villagevoice.com/2017/08/08/on-her-striking-new-album-lingua-ignota-soars/" target="_blank"><img src="https://66.media.tumblr.com/3567ca509ca8894381032df7a137ce93/tumblr_inline_pj8eu3fu3C1qbzv4w_540.png" class="size_orig justify_inline border_" /><img src="https://66.media.tumblr.com/6834c306c8828d3e6dc0cbb45fd38b5a/tumblr_inline_pj8esc6MaY1qbzv4w_540.png" class="size_orig justify_inline border_" /></a></p></figure>
<p>Article via <a data-link-label="" data-link-type="url" href="https://www.villagevoice.com/2017/08/08/on-her-striking-new-album-lingua-ignota-soars/" target="_blank">The Village Voice</a><br><br>The first time I saw Kristin Hayter perform as Lingua Ignota, the classically trained experimental musician was presenting her MFA thesis at Brown University. At a white keyboard in a flowing white dress, surrounded by dozens of crumpled-up pieces of paper on the floor, she delivered striking operatic vocals while behind her played black-and-white video footage of serial killer Aileen Wuornos, Pina Bausch choreography to Stravinsky’s Rite of Spring, and burning buildings. When she finished her set, at least three audience members were in tears.</p>
<p>“She’s that sort of magical talent that seems to come from nowhere,” says Steven Vallot of audiovisual electronics project Muslin, who recently completed a West Coast tour with Hayter and doom metal duo the Body. “It seems innate and effortless, yet it’s mixed with work and building a craft.”</p><!-- more -->
<p>The new <a href="https://linguaignota.bandcamp.com/album/all-bitches-die">ALL BITCHES DIE</a> EP, Hayter’s second as Lingua Ignota (Latin for “unknown language”), builds on her first, <a href="https://linguaignota.bandcamp.com/album/let-the-evil-of-his-own-lips-cover-him">LET THE EVIL OF HIS OWN LIPS COVER HIM</a>, released on Bandcamp on Valentine’s Day. That debut, which included four songs from Hayter’s graduate thesis, dealt with violence against women, including her own experiences as a survivor of domestic violence and abuse; all proceeds went to the National Network to End Domestic Violence. When writing ALL BITCHES DIE, Hayter, now 31, was inspired by the book<a href="https://www.amazon.com/When-Battered-Women-Angela-Browne/dp/0029038812"> When Battered Women Kill </a>by Angela Browne, a study of victim violence. “I was thinking about what it means to be a survivor and the different roles that you have to embody as a victim,” she explains. “ALL BITCHES DIE is about the dichotomy of victim-slash-monster, and using tropes commonly used in harsh noise and metal and subverting them.”</p>
<p>Growing up outside San Diego in 1986, Hayter was not entirely at home in a world in which the norm was hyper-thin, tan, and blonde. At school, the kids taunted her, threw things at her. But when Hayter was eight a teacher took note of her natural vibrato, the recognition leading Hayter to become a soloist and church cantor. She sang weekly at her local church, beginning classical voice training in the sixth grade, around the time she became obsessed with Kurt Cobain.</p>
<p>In high school, she got into grindcore, prog, math-rock, jazz, and noise, picking up influences from the likes of Ornette Coleman, Aaron Dilloway, and John Zorn as well as from San Diego bands the Locust and Cattle Decapitation. She went to shows and played in metal bands with her friends. At the same time, she was training for the conservatory and performing in small opera productions.</p>
<p>That training has had a substantial impact on her work. Hayter specializes in early music from the medieval, Renaissance, and baroque eras, which forms the basis for most of her songs. In performance, she flips the room upside down with punishing, beautiful vocals that oscillate between the venomous and aggressive and the heartbreakingly mournful — between abuser and victim. People have told her she reminds them of the avant-garde vocalist and composer Diamanda Galás. (“An incredible compliment,” Hayter says, “but I consider her a post-human deity/demon and I could never do what she does and I wouldn’t dare to try.”)</p>
<p>It was during her time at the School of the Art Institute of Chicago, where she earned her BFA on a painting scholarship, that Hayter, under the mentorship of Mark Booth, began commingling language, sound, and image. Her undergraduate thesis involved a deconstruction of Bach’s Well-Tempered Clavier into a series of procedural poems, which were then turned back into music and accompanied by visual material.</p>
<p>She continued the interdisciplinary approach at Brown, where she earned the MFA, in literary arts, in 2016 — and where, after ending an abusive five-year relationship, she started writing about violence against women. Her thesis work there, titled BURN EVERYTHING TRUST NO ONE KILL YOURSELF, included a thirteen-song cycle based on a 10,000-page manuscript composed largely of found material: misogynist lyrics, internet invective, and the like.</p>
<p>“I decided on 10,000 pages because that’s my body weight in standard paper and it’s an impossible book object,” Hayter says. “I wanted to create something vast, unreadable, and terrifying.” In addition to the text, she created an installation of the pages. “So there’s the…written object, the installation, the recorded musical object, and the performance, all of which examine and recontextualize the tropes of violence against women in music.”</p>
<p>Her work brings to mind Tolstoy’s concept of the infectiousness of art — that is, one can’t rightly go on with one’s day after listening to or watching Lingua Ignota perform. Artfully, expertly, Hayter forces us to confront a violence to which we’ve become otherwise inured; in so doing, she creates a visibility for those who have been encouraged to remain silent, who have been dismissed.</p>
<p>“I want to keep going. This is what I want to do,” she says. “I have survivors who approach me and say that the work touched them somehow, or that it spoke to them. And that’s who I’m making it for.”</p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957862018-12-04T13:36:49-08:002020-01-13T11:27:56-08:00Interview with Kristin Hayter // Music & Riots<figure class="tmblr-full" data-orig-height="209" data-orig-width="976"><p style="text-align: center;"><a contents="" data-link-label="" data-link-type="url" href="http://musicandriots.com" target="_blank"><img src="https://66.media.tumblr.com/017e0c901bc073892d779dd9ebb0350b/tumblr_inline_pj8ef1wiSh1qbzv4w_540.png" class="size_orig justify_inline border_" /></a><a contents="" data-link-label="" data-link-type="url" href="http://musicandriots.com/interview-with-kristin-hayter-aka-lingua-ignota1/" target="_blank"><img src="https://66.media.tumblr.com/ca8da4816956e4c59669857efc1a112b/tumblr_inline_pj8efvkbCu1qbzv4w_540.png" class="size_orig justify_inline border_" /><img src="https://66.media.tumblr.com/73460a3ffda990b965706b66e9be7007/tumblr_inline_pj8eg6Wy3j1qbzv4w_540.png" class="size_orig justify_inline border_" /></a></p></figure>
<p>Interview via <a contents="Music &amp; Riots" data-link-label="" data-link-type="url" href="http://musicandriots.com/interview-with-kristin-hayter-aka-lingua-ignota1/" target="_blank">Music & Riots</a></p>
<p>A piece of music should stir emotions and evoke inquisitive thought. Lingua Ignota is, perhaps, the most thought provoking, powerful project in experimental music. Intertwining industrial, electronic, doom metal, classical and more, Kristin Hayter, the force behind the sound, creates behemoths that defy precise labeling. As a survivor of domestic violence with 100% of her artist proceeds going to the National Network to End Domestic Violence, the songs of Lingua Ignota go against the typical tropes of extreme music. Unlike most male-driven heavy acts, Hayter’s art is true; she writes directly from her life and speaks to those who understand the darkness associated with male-dominated society. From exorcism to opera, she tells her stories in a way that is unsettling, impactful and awe-inspiring. Hayter talked to us about sampling Aileen Wuornos, redefining “heavy” and the humans who inspire her art.</p><!-- more -->
<p><b>“Lingua Ignota” has, fittingly, both religious and feminist connotations. How did you arrive at that name?</b><br>Lingua Ignota means ‘unconstructed’ or ‘unknown’ language. It was an alphabet arrived at by medieval mystic and composer Hildegaard of Bingen, who is a major influence. I work a lot with extended vocals, and as an extension of that have always had a vested interest in glossolalia and ecstatic speech, I think that will develop and get weirder as the project progresses. Lingua Ignota I think of as God speaking and moving directly through a body, a possession.</p>
<p><b>In what ways do those two facets of life (religion and feminism) affect the sound of your music?</b><br>In a fun twist, my work does not at all engage with any schools of feminist thought or critical theory. This is intentional, as I am trying to approach the topic of survival in a way that is arresting and unconventional. Almost everything I do is informed by misogynist, male-dominated, and patriarchal models. I’m just reframing and re-contextualizing. So I work a lot with sound and imagery palettes inspired by the ideologies surrounding extreme music.</p>
<p>For instance, the voice and image of Aileen Wuornos appear often in my work. But my arrival at Aileen wasn’t an organic feminist choice, it was based on a lot of noise, metal, etc. using samples of serial killers or an album with a serial killer theme, and so on. In my humble opinion, whatever may have been, at some point, controversial or interesting about using dark imagery is dead; we’re so accustomed to it that it just becomes a sort of ambient signifier loop for genre placement – like: “ok we’ve got a Jeffrey Dahmer sample in here just a heads up we’re an evil band we’re into evil stuff.”</p>
<p>Also, where else can music go to get heavy and dark? I feel like we tap out at true Harsh Noise Wall. That’s the end. It’s the heaviest sound world there is. You listen to 35 minutes of The Rita putting a mic’ed pointe shoe through four pedals, the sound source totally obliterated into nothingness with every frequency maxed out the entire time — that’s the end of heavy music. Goregrind/hategrind, NSBM, racist power electronics – none of it holds a candle to that absolute decimation and entropy, it’s staring into a void.</p>
<p>So I don’t find most of the graphic depictions of (forgive my language here) ‘sending this dumb slut back to hell hearing her final screams as my throbbing erection pounds her maggot-filled cunt’ upsetting to my feminine sensibilities, most of it isn’t even well-executed enough to be taken seriously, I just find that it occupies this weird space of being simultaneously very loaded and totally obsolete, especially when we consider that none of these guys are actually sodomizing female corpses in their free time. So my thoughts were to flip this whole paradigm and to try to make it meaningful, to reframe extreme imagery for survivors of violence, upon whom very dark shit has actually been visited, and who may have been confronted with the possibility of committing homicide in self-defense to survive an attack. Aileen’s story is brutal and complex, it’s a lesson in how deeply flawed the system is for sex workers, sexual assault survivors, people with mental illness, everyone who slips through the cracks. When Aileen is in my work, I try never to edit her or manipulate the sample to make her sound ‘scary and cool’ and try to never outdo her with my own voice – that’s why, in the song “Disease Of Men”, her voice runs throughout, loudly. I want to take backseat. I like to think that our voices are working in tandem. I want people to actually listen to what she has to say.</p>
<p>My relationship to religion is very complex, and the sound world of my work is very much influenced by liturgical music, whether that’s saccharine Christian Contemporary, or the sacred works of Haendel or William Byrd or even further back, Hildegard of Bingen. I’ve always had this really strong affinity for music, structures, and artworks built for God. I don’t know what I believe in at this point as I’ve been a hardline atheist since high school, but the concept of religion serves many purposes in my work: the vengeful God, the merciful God, God as the only place you can turn.</p>
<p><b><i>All Bitches Die</i> is simultaneously terrifying and ethereal. As an artist, do you have any underlying hopes for what people take away emotionally from your music?</b><br>I hope that they hear something new, an amalgam of stuff that in its structure and arrangement is both disorienting and familiar, and I hope they hear an unorthodox perspective on difficult content, something difficult to listen to but they can’t quite figure out why. I want people to feel ill at ease, to be not quite sure what will happen next, which is why I fill my work with a lot of sharp contrasts and juxtapositions.</p>
<figure class="tmblr-full" data-orig-height="178" data-orig-width="656"><p style="text-align: center;"><img src="https://66.media.tumblr.com/9796c56a154c2a6014487c93b4b61ca1/tumblr_inline_pj8eircDQr1qbzv4w_540.png" class="size_orig justify_inline border_" /></p></figure>
<p><b>What do the juxtapositions in your music represent?</b><br>I think a constant in my music is shifting perspectives, that even in the same song or the same phrase there are multiple voices speaking, a totally different perspective can be achieved by relaying the same content in a different style.</p>
<p>Also considering what is heavy again. There’s a lot of movement in my work but probably the most ‘conventionally heavy’ music people have heard from me so far is the first five minutes of “Woe To All (On The Day Of My Wrath)” with this kind of deconstructed sludge metal riff, a distorted crashing pulse, and very intense black metal-y vocals. There’s not a lot of meaningful material in there though. I say a couple of lines that I say later in the song but some of it I legitimately don’t know what’s being said so any meaning has to be construed from the conviction of the delivery, which is another element of extreme music i find conceptually interesting. I think the harshest track I’ve done, and a weird sleeper favorite among people, is “The Chosen One (Master)” which is sonically my softest, most sparse song. It has the same repeating arpeggiated piano line for almost seven minutes and an organum-style vocal line that moves a little but doesn’t do anything extraordinary, and I sing very quietly, and that’s it. But the material is brutal, and progresses from allegorical to autobiographical to evangelical as the song goes on, and doesn’t let up. It’s like having someone whisper something dreadful directly into your ear, I close a lot of my sets with this song and it always makes people very uneasy. It’s my favorite song I’ve done so far, and in my opinion — it’s my heaviest. I do a similar thing in “Holy Is The Name (Of My Ruthless Axe)”, which is very quiet, but also very dark, but also victorious, but also victorious in a way that is terrifying. So these juxtapositions are, for me, a way of building tension, a way to take what’s holy and make it profane, a way to take what’s profane and make it holy, a way to reconcile beauty and ugliness.</p>
<p><b>Your music seems wholly autobiographical. You can hear your classical training, Catholic upbringing and, most of all, your story of surviving domestic abuse. Is performing a sort of cathartic purge for you?</b><br>Yes, definitely. it feels like an exorcism. I keep telling myself to take it easy on my voice when I perform but I seem to have no control over my body whatsoever. I always end up with bruises everywhere, and later I’ll watch video and see that I’d been hitting myself with the mic or falling on the monitors or something. I basically black out. I initially have awareness of the audience and generally stare them down for a minute or so at some point but that awareness gets totally wrecked.</p>
<p><b>Providence has rich repertoire of noise and experimental musicians, namely The Body, who you’ve played and worked with. What introduced you to the genre and how did you start creating your own sounds?</b><br>The Body are the best guys, literally the best people in the world. I love them. They make intelligent, heavy, enveloping work that really pushes the boundaries of metal in terms of collaboration and influences. I hope they keep making music forever. I sing a few songs on their new record so watch for me!</p>
<p>The Body had already moved to Portland by the time I came to Providence, but they’re obviously legends here. In Providence we’re really spoiled. The creative landscape here is shifting right now and I probably won’t be here for too much longer but I can’t think of another city that has had such bounty in performance art, noise, noise rock, metal, queer artists…it’s been a really special place. It also has a very interesting bridge between academic experimental music and DIY experimental music, which is how I found myself in the scene. I’d been doing DIY noisy stuff when I was younger but switched to more austere, scholarly work in undergrad and grad school. Due to a general disillusionment with academia and my own life circumstances, I started gravitating towards work that was more emotionally raw than academia was willing to tolerate. I also started making this music as soon as my abuser was gone for the last time, because during the time we were together he wouldn’t allow me to perform in really any capacity, or at least strongly discouraged it, and when I was finally free the music became a very raw and real way to process the damage.</p>
<figure class="tmblr-full" data-orig-height="103" data-orig-width="675"><p style="text-align: center;"><img src="https://66.media.tumblr.com/8808540304b14cada3b85b6a8eb44611/tumblr_inline_pj8ekzXLWW1qbzv4w_540.png" class="size_orig justify_inline border_" /></p></figure>
<p><b>Do the 4 tracks of All Bitches Die correspond to a larger project such as Burn Everything?</b><br>Nope! The construction of All Bitches Die was much more organic and is meant to be more of a cycle of murder ballads, somewhat inspired by a book given to me by Humanbeast’s Eli, When Battered Women Kill. There are still about 10 more unreleased parts that go with the first EP of Burn Everything material that will probably be released as a full-length at some point, but for All Bitches Die I specifically wanted to cleanse my palette with work that would develop naturally, it was sort of a test for myself to see if I could make non-procedural work.</p>
<p><b>It’s the most cliche question, but who are some musicians/artists/people in general who inspire you?</b><br>I actually love this question. The people in my life who inspire me are the ones who’ve been through hard shit and keep going. The people who are still strong even if they’re struggling to have their voices heard.</p>
<p>I have an obsession with vocalists, particularly those who use their voices to extreme and unexpected ends: Blixa Bargeld, Diamanda Galas, Klaus Nomi, Kathy Berberian, Joan la Barbara, Yma Sumac, Philippe Jaroussky, Andreas Scholl, Attila Csihar are just a few off the top of my head that have been really important to my development. One of my favorite artists is Rainer Maria Fassbinder, and his theatrical, ghastly, content-saturated films are hugely inspirational to my aesthetic in general, I think Fassbinder is largely responsible for my constant use of dramatic shifts. His work was very cerebral but also very beautiful, there’s a lot of texture to it.</p>
<p>A major reason I keep making music when I feel like I should stop is my closest friend Scøtt Reber, Work/Death, who has been an amazing support system for me for the past two years. Scøtt is almost a mythical figure in Providence and is rarely seen aside from at shows. He makes the most beautiful, perfect music. Technically he ‘does noise’ but it’s so much more, he’s totally a savant, he painstakingly crafts these really dense soundscapes that are a culmination of musical intuition, emotional sincerity, and theoretical knowledge which are somehow perfectly balanced and so well executed — but everything still sounds broken. He has this massive brainspace occupied solely by 20th century avant-garde schools of thought about tonality and human cognitive understanding of sound, he knows more about music than pretty much every music scholar I’ve ever met. The screensaver on his laptop is a black void with a white text box that bounces around, it says: “Yr fucked and everything is fucked. keep trying to fix things. it’s still fucked. keep trying.” I think of this every day.</p>
<p>Words: Teddie Taylor // Listen to All Bitches Die below:</p>
<p style="text-align: center;"><iframe seamless="" src="https://bandcamp.com/EmbeddedPlayer/album=3987451963/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/" style="border: 0; width: 100%; height: 120px;">ALL BITCHES DIE by LINGUA IGNOTA</iframe></p>Sargent Housetag:www.sargenthouse.com,2005:Post/60957872018-12-04T13:24:28-08:002020-01-13T11:27:56-08:00Lingua Ignota's Liturgical Noise Is a Celebration of Obliteration // Noisey<figure class="tmblr-full" data-orig-height="248" data-orig-width="750"><p style="text-align: center;"><a contents="" data-link-label="" data-link-type="url" href="https://noisey.vice.com" target="_blank"><img src="https://66.media.tumblr.com/4eecef5229f90cdfb7d43d01cc3e1fc2/tumblr_inline_pj8driVHCL1qbzv4w_540.png" class="size_orig justify_inline border_" /></a><a contents="" data-link-label="" data-link-type="url" href="https://noisey.vice.com/en_us/article/kzqzwn/lingua-ignotas-liturgical-noise-is-a-celebration-of-obliteration" target="_blank"><img src="https://66.media.tumblr.com/58fbe8ad93cab59c0714f74445e76359/tumblr_inline_pj8dra5EQs1qbzv4w_540.png" class="size_orig justify_inline border_" /><img src="https://66.media.tumblr.com/3a0437eaa035d1f98048b139235d3825/tumblr_inline_pj8dsgHlBA1qbzv4w_540.png" class="size_orig justify_inline border_" /></a></p></figure>
<p>Article via <a contents="Noisey" data-link-label="" data-link-type="url" href="https://noisey.vice.com/en_us/article/kzqzwn/lingua-ignotas-liturgical-noise-is-a-celebration-of-obliteration" target="_blank">Noisey</a></p>
<p>Stream the new EP from the Providence-based artist who explores trauma and survival through neoclassical, death industrial, and extreme metal.<br><br>"I've always had this problem of not being able to situate myself, of being a part of things that are so disparate I can't reconcile them," says Kristin Hayter, a classical vocalist and experimental musician who performs under the musical moniker Lingua Ignota. Lingua Ignota's debut EP, <i>Let the Evil of His Own Lips Cover Him</i>, was self-released on Valentine's Day 2017. 100 percent of proceeds from sales went to benefit the National Network to End Domestic Violence, and a second EP, <i>All Bitches Die</i>, just dropped on on June 7, 2017.</p><!-- more -->
<p>Taken from the sacred language of medieval visionary Hildegard of Bingen, Lingua Ignota translates to "unknown language." This moniker speaks to the unclassifiable genre of Hayter's music. "I don't know what I would call myself in a genre, and I don't know what I would call myself as a maker of things," Hayter says. "The liminal?" <i>Let the Evil of His Own Lips Cover Him</i>'s tags on Bandcamp offer one nexus: experimental, classical, industrial, liturgical, power electronics, and Rhode Island, where Hayter is currently based. To me, Lingua Ignota's music feels like praying in tongues inside a burning church. </p>
<p>Hayter has recently toured with metal/noise outfit The Body, opened for Wolf Eyes, and played the Ende Tymes Festival. "When I came to Providence, I was still making tenuously academic work, but when I got rid of my abuser, I got involved in the scene and I started to make work that was more emotionally raw. And so it straddles this weird place right now where it's too upsetting for academia and too polished and tonal for noise. Whatever the hell it is—it's been called liturgical power electronics, operatic brutalism, beautified death industrial, 'Girl Swans,' whatever —I'm grateful that people respond to it at all."</p>
<p><iframe allow="autoplay" frameborder="no" height="350" scrolling="no" src="https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/playlists/328695353&color=%2384849c&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true" width="100%"></iframe></p>
<p>Lingua Ignota's live performances obliterate their surroundings. During live shows, Hayter stands behind a keyboard painted ghost white and a laptop affixed with a sticker that says <i>BELIEVE SURVIVORS, </i>screaming and singing as her body is bathed in projected visuals: a forest fire; a dance troupe performing Pina Bausch choreography; a Pentecostal baptism; walls of sans-serif misogynist pornogrind lyrics. Throughout, she embodies "[an] ambiguous schizoid character that is the work and the performance practice." Her embodiment of this character feels demonic, from the Greek <i>daimōn</i>, meaning 'deity, genius.' "I very much try to get to a place where [the performance] no longer feels like me, and where something else is moving through me, whether that's my abuser, or god, or something that can create a voice I wouldn't have myself. It's like an exorcism."</p>
<p>A survivor of domestic violence, Hayter describes her work as "painful to perform." "[I always think] everyone's going to hate it, that I'm going to make fellow survivors angry, and that dudes are going to be like, 'This is feminist garbage." But for her, these preoccupations deliver more questions than answers. "Who am I actually making the work for? Am I making it for bad men to hear so that they can have a perception of this experience, or am I making it for fellow survivors or victims?" And if it's for a mixed audience, how do we inhabit the same room?</p>
<p>Hayter was born in 1986 and grew up in Del Mar, CA. "There's a liquid quality to time [in Del Mar]. Everything is very slow-moving and sunny. But it still has that insidious Southern California mindset of, like, 'we live in a completely idyllic bubble and sphere of perfect beauty and women who look like polarized photographs.<i>" </i>Her description reminds me of <i>Buffy the Vampire Slayer</i>, where a high school in Southern California is literally located on a hellmouth. "I think of [Del Mar] as a sort of hell in the way that I was so different than everyone else when I was growing up and couldn't situate myself, couldn't find myself there at all."</p>
<p>Raised Catholic, Hayter's religion distinguished her from others and continues to inflect her musical practice. "I was in parochial school until sixth grade. My Catholic upbringing is huge in all the stuff I do, as far as the way liturgical music has influenced me, and the rituals of the church and even that homogeny and having to conform to a very specific mold of existing, of moral existence, of appearance."</p>
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<p>"[When I entered public school,] I started to notice that I didn't fit. I became obsessed with Nirvana, and with Kurt Cobain. I found this cassette tape of Nevermind that my cousin had left when he'd come to visit. I listened to it, and I was just floored. I became enamored of [Cobain] and wanted to be him, wanted to make music like him, wanted to have a voice like him." Soon thereafter, Hayter enrolled in classical singing lessons.</p>
<p>Hayter speaks thoughtfully about the way her classical singing practice conceptually links to the music she makes. "When we sing classically, we try to create seamlessness between the registers—between the head and the chest voice. What I try to do is play with the spot between them where my voice breaks, and I write most of my songs to have my break be central, so that I move between the registers quickly and it creates this destabilizing sense that there's multiple voices in the song, that the voice is in this state of constant flux, dynamic and imperfect, alchemizing itself." In other words, although her music has beautiful passages, it also travels into abject spaces. "There will be half a phrase of straight classical singing and then it will drop down to a weird death growl or a fraction of a second of Bulgarian-like belting and then extended technique, a rush of air. I'm very intentionally manipulating my voice to make these kind of gross glides and transitions between these two registers."</p>
<p>Currently living in what she calls "a shed in the woods" in Lincoln, RI, Hayter completed an MFA in Literary Art at Brown University in Providence, RI in 2016. At Brown, she completed a thesis called <i>Burn Everything Trust No One Kill Yourself, </i>a 10,000-page manuscript composed of appropriated material—"lyrics, message board posts, and liner notes from subgenres of extreme music that mythologize misogyny, […] [and] court papers, audio recordings, and police filings from [her] own experiences of violence"—assembled using a Markov chain. Prior to this, she attended the School of the Art Institute of Chicago, where she studied across disciplines. "I ended up in visual/critical studies and art history. I was really into research and having a research-based practice, and then I got into writing, and then I got into the sonification of the voices I had written."</p>
<p>"I created abstract pieces with a lot of texture and layers to them with heavily manipulated vocals, and I learned how to do circuit-bending and work with analog electronics and signal processing. That's when my interest in avant-garde electronic music started to blossom. I'd developed an interest in DIY abstract music in high school as I got into noise, and piecing together how the academic avant-garde and the underground experimental scenes intertwined and responded to each other was really compelling to me. The space between DIY and academia was where I made my home."</p>
<p>Hayter's undergraduate thesis, <i>Architect and Vapor</i>, was about anorexia. It recomposed J.S. Bach's <i>The Well-Tempered Clavier </i>into procedural poetry, and then into music. "I was anorexic for over a decade, and the latter half of that decade was a waking nightmare. I couldn't keep a job, I couldn't stay in school, I couldn't sustain any form of relationship with anyone. All I did was restrict, exercise, and purge. My doctors told me, 'you will die,' and at first this death was nebulously abstract in the future, but then it became: 'you will die this week, this month, tomorrow.' There were times when I would just stare at the clock in my apartment and wait to die, thinking 'this is it.' Anorexia is such a strange illness because you live with such reckless disregard for your body while the body remains the locus of your obsession and care."</p>
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<p>As with <i>Architect and Vapour</i>, <i>Burn Everything Trust No One Kill Yourself</i>'s subject matter emerged from Hayter's experiences as a survivor of domestic violence. With the exception of the <i>COPS</i> theme song "Bad Boys," all of the tracks on the album were also part of Hayter's graduate thesis. "I've been in several relationships with men who were physically, emotionally, sexually, or psychologically violent. The most significant abuse came from a relationship that lasted five years. He was biblically evil, absolute in his cruelty, manipulative like the adder. Even now, picturing him, he is post-human, pale and dark and spindly, like a specter or a spider. He was arrested for assaulting me and some of my most traumatic memories are from being re-victimized by police, by my school, and by the court. The system is so fucking broken for victims of sexual and domestic violence, and I also recognize that if I weren't a cis white woman things would have been ten times worse."</p>
<p>"Not ascribing to traditional models of healing such as gentleness and self-love has allowed me to be very raw and aggressive in my recounting of abuse through art. I think that's the part of it that maybe touches other survivors: mine isn't the way we're accustomed to addressing such things. I was reading several books about surviving abuse and they're basically like, 'be nice and get a hobby.' I feel like this enforces patriarchal models of civilized femininity. Instead, I come out and scream at you—'BURN EVERYTHING TRUST NO ONE KILL YOURSELF' and 'REPAY EVIL WITH EVIL,' she says. "Part of the reason I use tropes of extreme music is because that was my abuser's world, that was his music. It has also been my music since I was a kid, and as much as I genuinely love metal, hardcore, noise—I will never be able to relate to it in the same way because of him."</p>
<p>Currently, Hayter is preparing for a west coast tour with The Body and Muslin. About the new EP<i>, All Bitches Must Die, </i>Hayter remarks that "it is about vengeance of biblical proportions. Blind, ecstatic suffering, delusions, repaying evil with evil." As she tells me, her next full-length record-in-progress, will be mostly covers. Hayter's interpretations of songs like Foreigner's 'I Want To Know What Love Is," Eminem's "Kim," an old Quaker hymn, and Toni Braxton's "Unbreak My Heart" engage forms of literary art entwined with Dada, conceptual poetics, and remix writing practices, often radically recontextualizes original sources via textual substitution. For example, in a cover of The Brothers Bright's song "O Blessed Child," Hayter rewrites the following lyrics—"that captors kingdom shall be burned for all to see / and that flesh shall not be our home"—as "that this earthly kingdom will be burned for all to see / and this body shall not be your own."</p>
<p>The conversation between literary art and contemporary music is not a common one. When it does take place, there are not many women moving between the disciplines. Hayter says: "I don't consider myself a writer now because I don't work with very much original material. I work with pre-existing content that I inhabit and reformulate and rearrange." To call Hayter a writer wouldn't begin to cover it.</p>
<p>As we wrap up the conversation, I ask her what she currently listens to during her scant downtime. "I listen to classical music almost exclusively—mostly early choral. I listen to a lot of medieval. Pérotin, Josquin des Prez, Oswald von Wolkenstein," she tells me. "That, and the music my friends make, because I'm blessed to have insanely talented friends: The Body, Work/Death, The Rita. Friends and dead people. That's all I listen to."</p>Sargent House