Jute Gyte – Isolation
Delirious experimental black metal combining densely chromatic walls of guitar, strange time signatures and polyrhythms, alternating black and death vocals, midtempo math-rock, psychedelic interludes, ambient synth, dodecophony, and an obsession with age, decay, and loss. Jute Gyte’s fifth black metal album.

Jute Gyte – Volplane
Experimental electronic music dense with bizarre processing and complex polyrhythms, interrupted by atonal polymetric accumulation studies for electric piano and clouds of percussive microsound.

We’ve released a glut of material since our last update, including two albums from Jute Gyte and one from Pumpkin Buzzard:

And miniCDs from Jeph Jerman, Griz+zlor, Astral Plague, Cementimental (feat. Blues), Ultra 64, Jute Gyte, and Tremor of the Black Manx:

And finally, Jute Gyte’s black metal opus Old Ways was recently an album of the week at Aquarius Records. Check out their review:

We should all be very grateful to the mailmen who serve aQ. Without them, the aQ list would be a very different beast. They come by almost every day, through sleet and rain if necessary. Usually bearing gifts of strange sounds transported from all corners of the globe. And often, some mysterious unmarked package will contain something special, a gorgeous ambient lp, or some obscure otherworldly folk record, or in many cases, some bizarre twisted chunk of black metal. And often those records will go on to be big time aQ faves, which is bound to be the case with this strange disc from a mysterious black metal horde called Jute Gyte, that just showed up one day in the mail.
The package we got was jammed with records by bands with names like Night Troll, Tremor Of The Black Manx, Pumpkin Buzzard, Testikill, but we were strangely drawn to this Jute Gyte record, weird name, cool oversized dvd style packaging, and once we threw it on we understood why. The description on the label’s website introduces us to Jute Gyte with these words:
“A bipedal humanoid rat releases a sandpaper-throated screech as most of its internal organs exit through a huge hole in its furry back. Large and small intestines launch forth in whip-like arcs, briefly straightening into perfectly even ropy lines. A massive snail-demon explodes into fragments of confetti: red, green, blue.”
And as weird as that reads, once you immerse yourself in the blown out crumbling ultra raw industrial tinged synth laden black metal of JG, maybe it’ll make more sense. Then again, maybe not.
The guitar sound is so fierce and fucked up. Ultra distorted, super saturated and fuzz drenched, not so much chuggy or abrasive as massive and blown out, as if a tiny bit more of anything and the riffs would just crumble to pieces, the drums mechanical and machinelike, the vocals a demonic shriek, howling and anguished, everything wreathed in washed out synths and what sounds like a million layers of distortion. The melodies are super catchy, the sound is impossibly warm and lush, even though in every other way it seems harsh and heavy.
Things slow down here and there, the music transformed into a lurching industrial stomp, all gnarled guitars and new wave synths, almost like some crazy blackened Six Finger Satellite jam. There’s a cool abstract mandolin interlude (apparently there’s mandolin throughout the whole record too!), that’s all super spare and skeletal, before a thick warped and warble synth comes in and obliterates the mandolin, leading directly into the second half of the record, the guitar comes back in and is again sop distorted and heavy, that it almost sounds like a synth, the chords ringing out crumble and distort and cause the speakers to nearly implode. Locked into a churning low end psychedelic blow out, the track just throbs and pulses, not so much metal or industrial as some sort of drone music unleashed, the various tones and notes expanding like miniature supernovas.
After a bout of woozy twisted detuned-guitar post rock drift with harsh vokills, burbling underwater synths, and tangled atonal melodies, like Khanate heard through a funhouse mirror, the record closes with another massive and epic dose of in-the-red blackdrone buzz, like Nadja, if they decided to throw in with the dark lord, another heaving wall of crumbling blackness, wrapped around a surprisingly catchy melody, the drums buried in the mix, just a distant throb, with a lurching stop start arrangement, like some sort of slowed down black metal math rock, but dripping with distortion and effects, infused with spaced out synths, and again on the verge of total implosion. And like the rest of the record, impossibly warm and fuzzy and melodic, while simultaneously being one of the most distorted and blown out things we’ve ever heard.
This isn’t brand new, it’s maybe a year old, but we only just discovered it, and figured it was something we had to share with the loyal aQ. Quickly becoming a new black metal favorite, just in time for our year end lists…