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…

Jute Gyte’s black metal album Old Ways was recently reviewed at Teeth of the Divine. To quote:

Jute Gyte will be a love it or hate it band, as are most on the genre, but for you sonic masochists out there, Old Ways will provide an hour or so of stripped down, torturous extremity that’s one of the better and more caustic, disturbing and unsettling one man basement black metal efforts I’ve heard of late.

First off, Pumpkin Buzzard has exploded onto the internet, revitalizing their presence with more content and tunes than ever before.
PB has revamped their MySpace page, oozed onto Facebook, and resurrected their Last.fm catalog.  (You can also find the Jeshimoth label page on Last.fm)  The PB discography is gradually becoming digitized as well in the form of iTunes and other online music outlet.  Find Mantis Antler on iTunes now!

To fill your gaping Buzzard void, Potborski Zastavka is out with a mix of unhinged vintage psychedelic rock and bizarre folk.

If that’s not enough, Everybody’s Unconscious will be here in a couple weeks with some haunting, genre-bending electronic horror.

To stimulate your Buzzard senses even further, catch 3 new PB videos on Jeshimoth’s YouTube channel.

Jute Gyte has also released two new albums since Arakan.  In a small dosage of abstract minimalism, It Was a Great Marvel That He Was in the Father Without Knowing Him is available for $5 on mini CD-R.  Jute Gyte’s latest work is an adventure into raw black metal with the full-length Old Ways.

Finally, inviting some new artists to the Jeshimoth label, 4 new mini CD-R releases span the genres of noise, electronic, ambient, industrial, metal and cybergrind.

Karlheinz The Calm and the Storm | Mystified Phantoms |  Women in Tragedy Mono Portrait | Night Troll/Tremor of the Black Manx Circle of Witches/Armor

Up first, Pumpkin Buzzard’s highly anticipated summery pop journey Mantis Antler has dropped. Chock full of energetic tunes, each track’s tempo increases by 10 beats per minutes; starting at 70 BPM and climaxing at a skull crushing 300 BPM. Mantis Antler is an album you must experience for yourself.

Jeshimoth also welcomed The Word… a limited Mini-CD release from artist Chefkirk whose discography encompasses harsh noise from vegan perspective. The complete title follows:

The word “veganism” denotes a philosophy and way of living which seeks to exclude — as far as is possible and practical — all forms of exploitation of, and cruelty to, animals for food, clothing or any other purpose; and by extension, promotes the development and use of animal-free alternatives for the benefit of humans, animals and the environment. In dietary terms it denotes the practice of dispensing with all products derived wholly or partly from animals.

This single track offering from Chefkirk takes the listener into a high-frequency holocaust of intense noise for over 20 minutes.

Jute Gyte is back with Arakan, his second full-length album featuring eccentric electronic compositions combining his previous work in noise and dark ambient with IDM and ethereal synthesizers. Spastic beats, thorough glitching, and haunting drones collide for a unique blend of melancholy, despair, and uncertainty fit for a lonely, rainy night.

Jute’s last solo release, Where We Go When We, received another positive review from the folks over at Heathen Harvest. Here’s an excerpt:

“Working within the framework of the ’noise’ genre, with faint flecks of drone and ambience thrown in, Jute Gyte employs the tactic of bombarding the listener with a constantly mutating melange of sounds constructed and destructed at will. The waves of electronically produced manipulations an overpowering attack on the senses. Wild hallucinogenic static, bass deep rumbles and screeching squalls surge and pore forth from the speakers with the sole aim of disorientating and pulverising the listener into submission.”

Read the rest of the review here.

We will be adding some more content to site in the future, including lyrics for all applicable releases, an ’about’ page, and possibly even a Jeshimoth media player to shuffle a playlist of tracks from the catalog, so stay tuned.

“Holy Shit! What was that?! Oh, it was just the the opening crackle of the new Jute Gyte 3″ CD-R. Don’t ever put CDs of classical music in a CD changer right before a noise CD. The changeover isn’t pleasant and the differences in mastering levels is usually pretty drastic. Jute Gyte is Adam Kalmbach. Adam uses computer, guitar and voice to construct epic noise pieces. This particular piece is a 23 1/2 minute excursion into the finer points of distortion, crackle, and distortion. Jute Gyte seems to have somehow harnessed the power of ocean waves crashing and managed to run it through a few distortion pedals. Not full on “HARSH(!)” but maybe I’m not listening to it loud enough. It maintains a “medium-harsh” dynamic that I really like and the mastering job is superb. It’s loud without being too loud and the EQ is boosted in all the right frequencies. I’ll bet there was a genorous amount of overdubbing/editing in the creation process, not that that’s a bad thing. I myself have been guilty of letting the overdubbing spiral out of control. The cover is beautifully laser printed on nice paper and stuffed in a slim 3″ jewel case. Nothing extravagant but it’s still a very professional looking package.”

Reviews can now be viewed in the album detail page below the track list.

Now two albums in, we’ve kicked off a series of releases specifically for Mini-CD suited for material under 24 minutes. The inaugural mini-album is Where We Go When We, a disgusting sonic adventure produced by Jute Gyte.

Following this solo release, Jute joins noise scene notable Griz+zlor in a destroying collaboration of harsh noise to produce Colossus of White Tar.

Both mini-albums are available now in the Jeshimoth Catalog. Up next for the series is some new material from Chefkirk. Check back later for more info on this third release.

As usual, Pumpkin Buzzard have long list of projects in the works. Most current is the upcoming release of Mantis Antler, an experimental pop/rock collection of 24 tracks topping 77 minutes.

More on that album including a full description and some free downloads will be available within the next week or so. Next for them will be Potborski Zastavka, continuing the traditional uninhibited rocking of Horse Machine. Potborski Zastavka’s successor has already been recorded as well and is now in the post-production process. Pumpkin Buzzard’s website has also just been through a complete renovation, so check it out at www.jeshimoth.com/pumpkinbuzzard. While you’re there, check out the results from the latest GearFight held via the SongFight message boards. Fellow SongFighters were challenged to cover their favorite PB tune available on somesongs resulting in some great interpretations.

At least 4 more albums from Pumpkin Buzzard are in production or nearing completion as of now and a new full-length Jute Gyte release is on its way, so stay tuned for more updates.