A soul trapped between heaven and hell, LINGUA IGNOTA represents more of a coming to herself on SINNER GET READY. Never falling to be overtly shattering, SINNER GET READY is begging for forgiveness while the frozen tundra’s wind nips at the neck. A shivering display comes from the opening of “THE ORDER OF SPIRITUAL VIRGINS.”
Simply built upon the fuzzy feedback from microphone wires being tangled in a ratking display of sound. LINGUA IGNOTA can thrive in this chaos of metallic sound as vocalist Kristin Hayter describes, “Sickness finds a way in, eternal devotion,” repeating to illustrate further, “hide your children, hide your husband. I am relentless, I am incessant, I am the ocean.”
Somehow two minutes takes two hours mentally before the daunting crash of the burning steeple falls on “THE ORDER OF SPIRITUAL VIRGINS” where a hellscape doesn’t even crack the iceberg that LINGUA IGNOTA sits upon.
A throne of nails covered in the dried blood becomes a more suitable throne on the track “REPENT NOW CONFESS NOW” where death through anguish follows. Generational pain melts over the audience as LINGUA IGNOTA illustrates, “The surgeon’s precision is nothing, no wound as sharp as the will of God. Repent and he will abundantly pardon, he will take your legs and your will to live.”
Becoming this coexisting platform of a sobering ideology and also the morphine to relapse upon. SINNER GET READY is shockingly gorgeous but that follows from LINGUA IGNOTA’s ability to caress the audience through operatic vocals and spoken word. To then shut them in a chamber with no light on the instrumentation, engineer Seth Manchester is a returning maestro behind the boards.
The previous work on CALIGULA saw a mastermind between Manchester and Hayter, giving terrifying pain and redeeming beauty to the wings of doves, but also the claws of rats. One of the final pieces, “MAN IS LIKE A SPRING FLOWER” describes over and over some allusions and gazes into that undeniable void.
Describing, “The heart of man is an orchid, the heart of man is the open gulch itself… the heart of man is a furnace, the heart of man is the open fiery pit.” And while the instrumental is quite simple with piano chords riding alongside these plucked subtle strings, LINGUA IGNOTA quickly moves through the atmosphere as a specter rather than a wrecking ball.
She is able to manipulate the soundscape to become more theatrical than her previous performances, more dramatic than any play or sonnet read aloud. Almost while entirely made of glass, LINGUA IGNOTA on SINNER GET READY is shatterproof and impossible to destroy.
Her guise is the panopticon of noise, seemingly always on watch and over the audience’s shoulder. There is no escape and no chance of running, only a frigid death lays in the wake.