- Summary: The third full-length release for Rhode Island artist Kristin Hayter was mixed by Seth Manchester features contributions from Mike Berdan, Lee Buford, Ted Byrnes, Noraa Kaplan, Sam McKinlay, and Dylan Walker.
- Record Label: Profound Lore
- Genre(s): Experimental, Industrial, Pop/Rock, Alternative/Indie Rock, Heavy Metal
- More Details and Credits »
Positive: 8 out of 8
Mixed: 0 out of 8
Negative: 0 out of 8
Aug 5, 2019It might not be an easy listen at times, but make no mistake, this is a vital an important record and one that needs to be heard in order to make sense of it. A definite contender for album of the year and one whose impact will stand alongside Lou Reed‘s Berlin for years to come.
Aug 5, 2019Surprisingly, it’s far more tuneful than her previous release, ALL BITCHES DIE, and yet arguably even less listenable. ... Her voice is an astonishing instrument, moving from operatic fullness to hyperventilating shredded shrieks, but always foregrounding intelligibility.
Aug 5, 2019Hayter'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.
Aug 5, 2019From start to finish, this album feels like an exposed wound, freshly – you might almost say studiously – picked and mastered to tape. It is an album of baroque intensity and gothic flamboyance played out like one long cathartic scream. Like an onion, it offers up layer after layer to slowly unpeel, each one a potential incitement to the very bitterest tears.
The WireAug 9, 2019An even deeper dig into the wound exposed on her debut. The album is drenched in divinity, its consideration of good and evil as polar concepts is biblical, elevating vengeance to a God-given imperative. Her classically trained voice deals in spiritual cadences, and commands gothic instrumentation of strings and drones. [Aug 2019, p.58]
Aug 20, 2019This album very, very nearly passed me by. I seen it on the home page for weeks, passing it up on every opportunity. Had I known what toThis album very, very nearly passed me by. I seen it on the home page for weeks, passing it up on every opportunity. Had I known what to expect coming in, I would've swerved it completely. Yet on the spur of the moment, I felt compelled to just try it out and see what the hype was about, and after the first track I was allured by the beautiful strings and gorgeous singing.
What followed was nothing I truly expected to experience, but it caught me so off guard that I wanted more. I was left on the edge of my seat from the very first time she began screaming and let me tell you, never would I find this enjoyable, and in a way I didn't, I was beyond terrified, constantly. I never knew when she would just catch me off guard again. At one point I actually reacted to one such moment in such a way that I burst into tears.
The way "Lingua Ignota" weaves in-between superb classical music, accompanied by pristine beautiful vocals and deathly shrieking alongside crashing cymbals and what not is an experience I cannot begin to describe.
I actually forced myself to close the lyrics as I didn't want to potentially spoil the surprise for myself when she did change it up so suddenly and that gripped me so so much more.
I have been that genuinely frightened by this album that the most harrowing thing was the abrupt end to the closer and then it all starting over again.
"Lingua Ignota" passed what she set out to do with this album, by instilling fear into its listeners. In my case, it was an almost unhealthy dosage, but alongside the gorgeous instrumentation and super vocals that acts as a false breather in an album where you never know where she might strike next, in my eyes I don't believe it could've been executed more perfectly.
FAITHFUL SERVANT FRIEND OF CHRIST, DO YOU DOUBT ME TRATIOR, BUTCHER OF THE WORLD, MAY FAILURE BE YOUR NOOSE, FRAGRANT IS MY MANY FLOWER'D CROWN, IF THE POISON WON'T TAKE YOU MY DOGS WILL, DAY OF TEARS AND MOURNING, SORROW! SORROW! SORROW!, SPITE ALONE HOLDS ME ALOFT, I AM THE BEAST… Expand
Aug 5, 2019Caligula (from the Roman Emperor reference) tells all devastating effects of vices: depression of humanity as byproduct of wars among humansCaligula (from the Roman Emperor reference) tells all devastating effects of vices: depression of humanity as byproduct of wars among humans or within themselves. Lingua Ignota told us their uncertainties for two choices of life. The result is wicked, that is the desire to take revenge. It's f**king wicked that reminds us all how humans can be out of their own control from wickedness they suffer in life.… Expand
Aug 9, 2019Lingua ingota manages to blend beautiful and hard to listen to music, creating a fantastic musical experience to provoke thoughts of heaven,Lingua ingota manages to blend beautiful and hard to listen to music, creating a fantastic musical experience to provoke thoughts of heaven, hell and relationships.… Expand
Aug 28, 2019Is all this demonic sounding music meant to be impressive, is it a joke, I guess I didn't find it funny, or the least bit entertaining,Is all this demonic sounding music meant to be impressive, is it a joke, I guess I didn't find it funny, or the least bit entertaining, certainly about as far as one could get from PLEASANT MUSIC (she capitalises each letter of each song to make sure we get the point that she is REALLY, REALLY, REALLY DARK...) oh give me a break. This "artist" needs to take some deconstipants and spend some time on the loo, because all this forced singing is good for is pressing out a blob of what the music sounds like.… Expand
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