[Reviewed by: Iaha Crax]
Sargent House is the record company of some of the most renewed musicians from a new-wave alternative scene transcending genres and choosing a provocative and post-modern style which may become the new-music in the utopic future of counter-culture: Wovenhand, Russian Circles, Earth, Emma Ruth Rundle, Chelsea Wolfe, Deafheaven. They have enrolled this acclaimed project Lingua Ignota, a suitable place for an artist who enchanted many with freshly and innovative albums close to Ulver’s Themes, Diamanda Galas…
Lingua Ignota returns on her albums to a few basic themes, particularly aggression and reprimand in religion or misogyny, and American society violence. Her texts, affecting music in a great degree, are poems filled with effective rhetorical questions highly underlined by her singing style. Much of the distress and her desire to attain internal beauty achieve an enigmatic effect through this church choral manner of interpretation. The mystical ballads, murder ballads (as named on her first album), become a sort of ecstatic hymns describing her relation with God and his son (and other sons) and perhaps a re-discovery of faith. Or only an allegorical condemnation of the radical speech of the church in the Appalachian area where she lives and of the blind stupidity of many Christian followers.
The compositions seem to have been written in a state of possession, when the body was inhabited by an ever growing spirit coming from darkness to light. The piano, which she masters skilfully, is central to almost every piece. Short musical ideas, simple and effective, as breviary prayers, remind of a sacred tonality which remount to Monteverdi or Marin Marais and connect through a secret lineage the renaissance European music to the American religious folk. In plus, as a classical trained musician, the American artist introduces new nuances and dissonances that poetically brings forth the conflictual nature of her faith, “the glory and the stress”.