by Jute Gyte

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Andrew Lovell
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Andrew Lovell Strangely enticing like a hot humanoid female alien. Something definitely wrong but yet feels so right. I’m not gonna tell my friends about this because they’ll never get it, but you like what you like.
Ken Goodey
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Ken Goodey I've listened to and then bought quite a bit of music from BC and I can happily say that I genuinely love, or at least like every bit of it, but its not often that I come across an artist like Jute Gyte, where I can comfortably say that I wish I had the albums on vinyl. This is truly epic and each record [I bought four - to start with] deserves to heard in full, through over-ear headphones, without a break, because it just feels that that's what the artist intended. Favorite track: Frater.
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Delimit 08:19
Apophrades 07:49
Dialectics 08:00
Heautoscopy 05:36
Rebind 07:21
Frater 04:54
Reduviidae 04:16
Fallow 08:00
Obepsm 06:24
Astyanax 08:24


There are two core dialectics in this album. The vertical dialectic is audible in "Delimit", "Apophrades", "Dialectics", and "Fallow", where the pitched synth material and unpitched percussion material are unrelated in tempo, meter and form. In all four tracks, the pitched and rhythmic materials were written separately as autonomous pieces and then superimposed. I borrowed this idea from Varèse, who frequently treated the percussion section independently in his orchestral pieces. The horizontal dialectic is the gradient structure (more like a moment form in the title track) of gradual transformation of foundation materials, audible in the same four tracks plus "Rebind" (in which the pitched and unpitched elements share tempo, meter and form), "Frater" (which has limited pitched material) and "Astyanax" (ditto).

Late in the album's development, under the influence of Coil and the Quake soundtrack, I wrote the static pieces "Heautoscopy", "Reduviidae" and "Obepsm" which disregard both dialectics and thus either undermine or reinforce the album's title, depending on how charitable you're feeling. I was reading Thomas Metzinger and Laird Barron while writing this album and their influence is evident in the track titles and (I hope) the general tone.


released March 2, 2015


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