Lingua Ignota

Experimental, Noise, Electronic, Death Industrial, Neoclassical Darkwave USA
S Lingua Ignota

Upcoming concerts

Barcelona, Parc del Fòrum 4/6 – 6/6/2020 Primavera Sound 2020 Barcelona

Past concerts

Lingua Ignota Praha 6, 007 Strahov 8/10/2019 20:00 Lingua Ignota
Lingua Ignota + Hide + Kontravoid Berlin, Urban Spree 6/10/2019 20:00 Lingua Ignota + Hide + Kontravoid
Unsound Krakow 2019 Kraków, Cracow – various venues 6/10 – 13/10/2019 Unsound Krakow 2019
Author & Punisher + Lingua Ignota Warszawa, Pogłos 24/4/2019 19:00 Author & Punisher + Lingua Ignota
Author & Punisher + Lingua Ignota Wrocław, D.K. Luksus 23/4/2019 20:00 Author & Punisher + Lingua Ignota
Author & Punisher + Lingua Ignota + V0nt Praha 7, Cross Club 22/4/2019 20:00 Author & Punisher + Lingua Ignota + V0nt


Lingua Ignota  All Bitches Die (All Bitches Die Here)  Lingua Ignota – All Bitches Die (All Bitches Die Here) 12:23 69 ×
Lingua Ignota  For I Am the Light (And Mine is the Only Way)  Lingua Ignota – For I Am the Light (And Mine is the Only Way) 5:07 67 ×
Lingua Ignota  Holy Is The Name (Of My Ruthless Axe)  Lingua Ignota – Holy Is The Name (Of My Ruthless Axe) 5:30 21 ×
Lingua Ignota  Woe to All (On the Day of My Wrath)  Lingua Ignota – Woe to All (On the Day of My Wrath) 15:02 15 ×
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About Lingua Ignota

Lingua Ignota, the solo project of multidisciplinary artist Kristin Hayter, takes a radical, unflinching approach to themes of violence and vengeance in ways that are moving, brutal, and harrowing. Her music is intentionally situated at specific and strange intersections, incorporating elements of power electronics, death industrial, and black metal alongside baroque classical, spiritual minimalism and folk. Relentless intensity and soaring dramatic arcs are informed by Hayter’s background in classical music, and the major sonic locus of the project is her voice, a dynamic entity that rushes from unhinged screaming to lilting soprano to angular belting. She is notorious for confrontational live performances that can leave an audience breathless or in tears.

Hayter began classical training at the age of ten with intent to pursue an operatic conservatory track. Instead, she developed an interdisciplinary fine arts practice at The School of the Art Institute of Chicago. She continued with graduate work at Brown University, producing a controversial thesis titled Burn Everything Trust No One Kill Yourself. Lingua Ingota was born out of this thesis which re-contextualized misogynist content as biblically vitriolic anthems for survivors of domestic violence and sexual assault. A survivor herself, Hayter seeks to give a singularly aggressive voice to the unheard, silenced, and dismissed.

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