Just this.
Let the music speak.
Text courtesy of artists via Bandcamp.
https://linguaignota.bandcamp.com/album/caligula
https://linguaignota.bandcamp.com/
1. FAITHFUL SERVANT FRIEND OF CHRIST 04:42
2. DO YOU DOUBT ME TRAITOR 09:34 3. BUTCHER OF THE WORLD 06:33 4. MAY FAILURE BE YOUR NOOSE 04:32 5. FRAGRANT IS MY MANY FLOWERED CROWN 05:07 6. IF THE POISON WON'T TAKE YOU MY DOGS WILL 06:30 7. DAY OF TEARS AND MOURNING 04:43 8. SORROW! SORROW! SORROW! 06:31 9. SPITE ALONE HOLDS ME ALOFT 07:24 10. FUCKING DEATHDEALER 02:32 11. I AM THE BEAST 07:53 |
about
“CALIGULA”, the new album from LINGUA IGNOTA set for release on July 19th on CD/2xLP/Digital through Profound Lore Records, takes the vision of Kristin Hayter’s vessel to a new level of grandeur, her purging and vengeful audial vision going beyond anything preceding it and reaching a new unparalleled sonic plane within her oeuvre.
Succeeding her self-released 2017 “All Bitches Die” opus (re-released by Profound Lore Records in 2018), “CALIGULA” sees Hayter design her most ambitious work to date, displaying the full force of her talent as a vocalist, composer, and storyteller. Vast in scope and multivalent in its influences, with delivery nothing short of demonic, “CALIGULA” is an outsider’s opera; magnificent, hideous, and raw. Eschewing and disavowing genre altogether, Hayter builds her own world. Here she fully embodies the moniker Lingua Ignota, from the German mystic Hildegard of Bingen, meaning “unknown language” — this music has no home, any precedent or comparison could only be uneasily given, and there is nothing else like it in our contemporary realm.
LINGUA IGNOTA has always taken a radical, unflinching approach to themes of violence and vengeance, and “CALIGULA” builds on the transformation of the survivor at the core of this narrative. “CALIGULA” embraces the darkness that closes in, sharpens itself with the cruelty it has been subjected to, betrays as it has been betrayed. It is wrath unleashed, scathing, a caustic blood-letting: “Let them hate me so long as they fear me,” Hayter snarls in a voice that ricochets from chilling raw power to agonizing vulnerability. Whilst “CALIGULA” is unapologetically personal and critically self-aware, there are broader themes explored; the decadence, corruption, depravity and senseless violence of emperor Caligula is well documented and yet still permeates today. Brimming with references and sly jabs, Hayter’s sardonic commentary on abuse of power and invalidation is deftly woven.
Working closely with Seth Manchester at Machines With Magnets studio in Pawtucket, Rhode Island, Hayter strips away much of the industrial and electronic elements of her previous work, approaching instead the corporeal intensity and intimate menace of her notorious live performances, achieved with unconventional recording techniques and sound sources, as well as a full arsenal of live instrumentation and collaborators including harsh noise master Sam McKinlay (THE RITA), visceral drummer Lee Buford (The Body) and frenetic percussionist Ted Byrnes (Cackle Car, Wood & Metal), with guest vocals from Dylan Walker (Full of Hell), Mike Berdan (Uniform), and Noraa Kaplan (Visibilities). “CALIGULA” is a massive work, a multi-layered epic that gives voice and space to that which has been silenced and cut out.
Succeeding her self-released 2017 “All Bitches Die” opus (re-released by Profound Lore Records in 2018), “CALIGULA” sees Hayter design her most ambitious work to date, displaying the full force of her talent as a vocalist, composer, and storyteller. Vast in scope and multivalent in its influences, with delivery nothing short of demonic, “CALIGULA” is an outsider’s opera; magnificent, hideous, and raw. Eschewing and disavowing genre altogether, Hayter builds her own world. Here she fully embodies the moniker Lingua Ignota, from the German mystic Hildegard of Bingen, meaning “unknown language” — this music has no home, any precedent or comparison could only be uneasily given, and there is nothing else like it in our contemporary realm.
LINGUA IGNOTA has always taken a radical, unflinching approach to themes of violence and vengeance, and “CALIGULA” builds on the transformation of the survivor at the core of this narrative. “CALIGULA” embraces the darkness that closes in, sharpens itself with the cruelty it has been subjected to, betrays as it has been betrayed. It is wrath unleashed, scathing, a caustic blood-letting: “Let them hate me so long as they fear me,” Hayter snarls in a voice that ricochets from chilling raw power to agonizing vulnerability. Whilst “CALIGULA” is unapologetically personal and critically self-aware, there are broader themes explored; the decadence, corruption, depravity and senseless violence of emperor Caligula is well documented and yet still permeates today. Brimming with references and sly jabs, Hayter’s sardonic commentary on abuse of power and invalidation is deftly woven.
Working closely with Seth Manchester at Machines With Magnets studio in Pawtucket, Rhode Island, Hayter strips away much of the industrial and electronic elements of her previous work, approaching instead the corporeal intensity and intimate menace of her notorious live performances, achieved with unconventional recording techniques and sound sources, as well as a full arsenal of live instrumentation and collaborators including harsh noise master Sam McKinlay (THE RITA), visceral drummer Lee Buford (The Body) and frenetic percussionist Ted Byrnes (Cackle Car, Wood & Metal), with guest vocals from Dylan Walker (Full of Hell), Mike Berdan (Uniform), and Noraa Kaplan (Visibilities). “CALIGULA” is a massive work, a multi-layered epic that gives voice and space to that which has been silenced and cut out.
credits
released July 19, 2019
Engineered and mixed by Seth Manchester at Machines With Magnets
Mastered by Heba Kadry
Engineered and mixed by Seth Manchester at Machines With Magnets
Mastered by Heba Kadry
license
all rights reserved
https://longformeditions.bandcamp.com/track/behind-the-spiderweb-gate
LE030
Alison Cotton is a classically trained viola player based in London, working with improvisation and composition. As well as her recent solo work, she is one half of the Walthamstow based songwriting partnership, The Left Outsides. She spent almost the last two decades performing in bands and collaborating with other musicians. Her collaborative album with Michael Tanner (Plinth) in 2016, with its quietly levitating drones pointed the way to her first solo record.
Her debut album ’All Is Quiet at the Ancient Theatre’ was released in 2018 on cassette on Bloxham Tapes, followed by a vinyl release on Cardinal Fuzz (UK) and Feeding Tube (USA).
As well as the viola, she uses an array of other instruments (her voice, harmonium, percussion, recorder, omnichord, shruti box and piano) to create long, haunting folk drones. Many of her pieces are created for, and named after spaces, whether real or fictional, and often of another time. As she plays, she focuses on the image of these places (‘A Tragedy In the Tithe Barn’, ‘All Is Quiet at The Ancient Theatre’, ‘The Bells of St Agnes’ and her recent piece, ‘Behind the Spiderweb Gates’).
In 2017, she composed and performed the soundtrack to artist Jessye Curtis’ film, ’36 Dramatic Situations’ as well as playing a live accompaniment to the film at the Chelsea College of Art Degree Show.
In 2018, she was commissioned by the BBC to compose and record a soundtrack to accompany the Muriel Spark ghost story, ‘The Girl I Left Behind Me’ which was broadcast on Gideon Coe’s BBC6 Music show at Christmas. This composition is planned for release later in the year on Clay Pipe Records. All Is Quiet At The Ancient Theatre was selected by Luke Turner as one of The Guardian Writers Albums of the Year, by Jude Rogers as one of the Guardian Folk Albums of the Month and placed at number 49 in The Quietus Albums of The Year in 2018.
Artist notes:
My music usually evolves from a story, often about a place I've visited, enhanced by the help of the imagination. The story will develop while I improvise and immerse myself deeper and deeper into the piece, using a kind of tone painting to express this.
Behind the Spider Web Gates draws inspiration from a house I happened upon in rural southern France last year. An imposing, dramatic, tall dark Gothic house with mysterious, black spider web-shaped gates at the entrance to the grounds.
The piece is divided into three parts. The first part depicts the tranquil ascent up a rocky path surrounded by ancient woodland. A calm, minimal, single-noted drone on the viola is soon enhanced by layers of plainsong-style vocal chants. This is followed by the introduction of a melodic viola line symbolising the sound of bird song and nature which surrounds me. This phrase serves as a motif throughout the whole piece. The chime of the singing bowl represents the distant sound of church bells, being transported towards me by the wind.
The second part brings into focus the ornate, looming Gothic spires of the house. The spider web gates are soon in clear view – and a sense of fear enters my subconscious mind. This is symbolised by the repetitive, menacing, single high note on the piano. The more serene vocal chants at this stage are placed to restore a sense of calm to the piece.
A local had told me that the grounds were accessible to the public. My inquisitive mind tells me to open the spider web gates and enter the garden… For the third part of this piece, piercing viola harmonics denote my turning of the heavy, rusty handle of the huge, imposing gate. The single piano note is reintroduced, as the sense of fear within grows stronger. The melodic viola motif, which has been present throughout the piece, is now accompanied by a harmonium playing a haunting countermelody to further intensify this sense of foreboding. And as the large oak door to the Gothic house slowly creaks open, a new set of more chilling viola harmonics dramatically bring the piece to a close.
For me, playing extended or deep listening music allows me more freedom to explore and improvise – a lack of time restriction opens up more possibilities. Due to the extended length, a recurring melody or motif can have more impact when reintroduced into the piece, surrounded by more space, and often triggers the emotions of the listener when it reappears. If I have lots of ideas before recording a long-form work, these can be presented more subtly and minimally to the listener as the piece unfolds – they can be more drawn out, painted on a larger canvas. There is also more space to introduce new textures and instruments without the piece becoming too busy.
Focusing on longform music as a listener, as I become immersed in a piece I often also begin to hear background noises – such as distant lawnmowers in neighbours' gardens, car alarms or sirens in nearby streets – and subconsciously incorporate them in the piece I’m hearing. I've endeavoured to include similar types of sounds and drones into this piece and also hope that listeners will hear their own distant sounds – and that they might also become a part of my piece in their minds. I’d love that to happen.
Recorded by Mark Nicholas. Mixed by Mark Nicholas & Alison Cotton
Her debut album ’All Is Quiet at the Ancient Theatre’ was released in 2018 on cassette on Bloxham Tapes, followed by a vinyl release on Cardinal Fuzz (UK) and Feeding Tube (USA).
As well as the viola, she uses an array of other instruments (her voice, harmonium, percussion, recorder, omnichord, shruti box and piano) to create long, haunting folk drones. Many of her pieces are created for, and named after spaces, whether real or fictional, and often of another time. As she plays, she focuses on the image of these places (‘A Tragedy In the Tithe Barn’, ‘All Is Quiet at The Ancient Theatre’, ‘The Bells of St Agnes’ and her recent piece, ‘Behind the Spiderweb Gates’).
In 2017, she composed and performed the soundtrack to artist Jessye Curtis’ film, ’36 Dramatic Situations’ as well as playing a live accompaniment to the film at the Chelsea College of Art Degree Show.
In 2018, she was commissioned by the BBC to compose and record a soundtrack to accompany the Muriel Spark ghost story, ‘The Girl I Left Behind Me’ which was broadcast on Gideon Coe’s BBC6 Music show at Christmas. This composition is planned for release later in the year on Clay Pipe Records. All Is Quiet At The Ancient Theatre was selected by Luke Turner as one of The Guardian Writers Albums of the Year, by Jude Rogers as one of the Guardian Folk Albums of the Month and placed at number 49 in The Quietus Albums of The Year in 2018.
Artist notes:
My music usually evolves from a story, often about a place I've visited, enhanced by the help of the imagination. The story will develop while I improvise and immerse myself deeper and deeper into the piece, using a kind of tone painting to express this.
Behind the Spider Web Gates draws inspiration from a house I happened upon in rural southern France last year. An imposing, dramatic, tall dark Gothic house with mysterious, black spider web-shaped gates at the entrance to the grounds.
The piece is divided into three parts. The first part depicts the tranquil ascent up a rocky path surrounded by ancient woodland. A calm, minimal, single-noted drone on the viola is soon enhanced by layers of plainsong-style vocal chants. This is followed by the introduction of a melodic viola line symbolising the sound of bird song and nature which surrounds me. This phrase serves as a motif throughout the whole piece. The chime of the singing bowl represents the distant sound of church bells, being transported towards me by the wind.
The second part brings into focus the ornate, looming Gothic spires of the house. The spider web gates are soon in clear view – and a sense of fear enters my subconscious mind. This is symbolised by the repetitive, menacing, single high note on the piano. The more serene vocal chants at this stage are placed to restore a sense of calm to the piece.
A local had told me that the grounds were accessible to the public. My inquisitive mind tells me to open the spider web gates and enter the garden… For the third part of this piece, piercing viola harmonics denote my turning of the heavy, rusty handle of the huge, imposing gate. The single piano note is reintroduced, as the sense of fear within grows stronger. The melodic viola motif, which has been present throughout the piece, is now accompanied by a harmonium playing a haunting countermelody to further intensify this sense of foreboding. And as the large oak door to the Gothic house slowly creaks open, a new set of more chilling viola harmonics dramatically bring the piece to a close.
For me, playing extended or deep listening music allows me more freedom to explore and improvise – a lack of time restriction opens up more possibilities. Due to the extended length, a recurring melody or motif can have more impact when reintroduced into the piece, surrounded by more space, and often triggers the emotions of the listener when it reappears. If I have lots of ideas before recording a long-form work, these can be presented more subtly and minimally to the listener as the piece unfolds – they can be more drawn out, painted on a larger canvas. There is also more space to introduce new textures and instruments without the piece becoming too busy.
Focusing on longform music as a listener, as I become immersed in a piece I often also begin to hear background noises – such as distant lawnmowers in neighbours' gardens, car alarms or sirens in nearby streets – and subconsciously incorporate them in the piece I’m hearing. I've endeavoured to include similar types of sounds and drones into this piece and also hope that listeners will hear their own distant sounds – and that they might also become a part of my piece in their minds. I’d love that to happen.
Recorded by Mark Nicholas. Mixed by Mark Nicholas & Alison Cotton
credits
released July 18, 2019
license
all rights reserved
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
- Bloggery committed by chris tower - 1907.29 - 10:10
- Days ago = #1486 days ago
- New note - On 1807.06, I ceased daily transmission of my Hey Mom feature after three years of daily conversations. I plan to continue Hey Mom posts at least twice per week but will continue to post the days since ("Days Ago") count on my blog each day. The blog entry numbering in the title has changed to reflect total Sense of Doubt posts since I began the blog on 0705.04, which include Hey Mom posts, Daily Bowie posts, and Sense of Doubt posts. Hey Mom posts will still be numbered sequentially. New Hey Mom posts will use the same format as all the other Hey Mom posts; all other posts will feature this format seen here.
No comments:
Post a Comment