It is always very complex, sometimes impossible for an artist to leave her comfort zone, the one that made her known to explore new horizons, moreover with a concept as complex as the main task. Yet Kristin Hayter managed to climb her third step with genius, to offer us one of the most thrilling, terrifying and sensational musical experiences of the year.
Kristin Hayter is a woman who has been damaged by life and has become one of the most talented artists of the last 5 years. A victim of multiple traumas from domestic violence in her last relationships, for which she could have lost her life, Kristin Hayter created an outlet called Lingua Ignota to try to exorcise all her suffering. With an education in fine art and classical music, Lingua Ignota is a fusion of NeoClassical Darwave and Death Industrial, offering an ultimate brutal and sinister vision of her introspections. Starting from nothing, Lingua Ignota broke through to the listeners by its unbelievable talent and also by the tormented and frightening writing of its universe. Her first album All Bitches Die (2017), realized in total independence, opens the doors of a label, where she will release Caligula in 2019 as the album that confirms her enormous potential. Her music has the main characteristic that it is literally impossible not to leave shaken by the experience, Lingua Ignota gives off something out of the ordinary that forces us to look at her 3rd and new album Sinner Get Ready.
While the previous albums explored some of the rottenness of her past, the concept of Sinner Get Ready opens up to other themes, deeply anchored on the religious and spiritual aspect. This one is directly linked to her childhood, marked by her catholic education, by the atheism she acquired during her adolescence and by the vision she has of her current environment. However, Lingua Ignota is not going to abandon all the sadness, the anger and the dark aspect that make her trademark, but this thematic change offered in this new opus is surely the most important element for her to continue to embellish her magnificent discography. This one draws new paths and doors to creativity, as an important musical and personal step for its author. Sinner Get Ready abandons the industrial sounds for Avant-Folk paths in order to emerge at best in the middle of rural Pennsylavnia, where the artist currently resides.
Sinner Get Ready is clearly less brutal, but it is still more morbid than ever. Throughout this album, Lingua Ignota installs a mystical atmosphere that overcomes us all, in a way that brings us anguish but also adoration. Feeling a superior, invisible and unpredictable force as a kind of sword of damocles allows the experience to be absolutely vibrant and real, until you feel the author's sobs. Several times, Lingua Ignota designates the sins as the cornerstone, from its apprehension to its most complex fear. The whole theme is particularly successful, because deep down, whether we are believers or not, anxiety resides in us in some way. Musically the Avant-Folk vision proposed by the author allows to create a kind of organized chaos, access on the abandonment of any rule in order to retranscribe at best the uncertain future and the austerity that transmit the thematic. If you add in addition to this mystical side, Sinner Get Ready feeds on the contribution of the local culture and a part of the history of Pennsylvania, from its Appalachian instrumentation to the religious chorus for which the author is carried away for the first time.
Lingua Ignota shakes up its codes and it is never a disappointment, although the bar was really high. Sinner Get Ready is really a sensational experience that doesn't stain compared to the previous and overwhelming albums. In general, the album progresses in a progressive way, even if the tracks are all more or less independent. The Order of Spiritual Virgins sets up in a crescendo way the scenery and soundscapes that will compose Sinner Get Ready, this angry and frenzied piano that follows it all along. This atmosphere close to the Drone that increases the intensity, the tension and the emotion as a unique guide. The voice and the absolutely tortured melodies of its author as third side of the triangle. When we get close to a moment of extreme tension, all of its elements are set on fire and lose control, the tone becomes darker and darker.
The power of the organ of I Who Bend The Tall Grasses and its theatrical aspect highlights the way in which the author has the possibility to answer the ambition of her project, of her concept. The madness of Many Hands, punctuated by the unpredictability of the strings, like the buzzing of an insect, transcends you to the point of giving you goosebumps. Lingua Ignota really draws all the potential of the local cultural contribution to paint it with the sweat of its fingers. Imposed uncertainty leaves no chance for hope, it highlights the position of the human in front of the universe, as a few things microscopic and dictated by the laws of nature.
Pennsylvania Furnace is one of the keys to the concept of this album. The multi-instrumentalist lets her vibrato voice roar for paralyzing melodies on a very intimate Chamber Music instrumentation. Her poetry is based on a mix between historical context and her own introspection, where she delivers her worries and fears about life after death. Many references to hell and the judgment of gods animate this tortured song, painting a picture of a deeply depressing life and a possible afterlife that could be much worse. This is also the first time in the album that the tension is released, like a moment suspended in time, where the avant-garde elements are less present. On a few occasions, Lingua Ignota will use this strategy and this nuance to allow the experience to breathe to better digest it, as on Perpetual Flame Of Centralia.
We note the very close correlation in the sequence that links Pennysylvannia Furnace, Repent Now Confess Now and The Sacred Linament Of Judgment in the references to the sins and the last judgment as an obsession for the author. The charm also lies in the fact that the author proposes a vision with 3 faces, the one who grew up in religion before building her own opinion for atheism, but also her perception of others, of everyone's beliefs in some way. It is always complex to talk about religion, that's also why Sinner Get Ready is special and stands out as a rare work. Man Is Like A Spring Flower relies on the same theatrical codes as I Who Bend The Tall Grasses while The Solitary Brethren Of Ephrata sounds the death knell of this new opus with a really soft and warm melodic performance that nuances with the whole album for a surprising, but very charming counterpoint.