Perdurance

by Jute Gyte

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SEBASTIEN COTE
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SEBASTIEN COTE M. Kalmbach, by introducing breathtaking melodies with his microtonal approach in his black metal compositions, establishes himself as one of today's most important BM composers. Along with Liturgy, Krallice, Blattaria, Deathspell Omega, Dodecahedron, just to name a few, Jute Gyte fowards into new territory the most extreme music. Exhilarating work ! Favorite track: The Harvesting of Ruins.
guska2
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guska2 Each of Jute Gytes album introduces new unexpected qualities. Unbelievably good music!! Favorite track: I Am in Athens and Pericles Is Young.
Metallurgical Fire
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Metallurgical Fire This is the album that took me from hating to being fascinated by this artist. Jute Gyte’s middle albums in all the trilogies are apparently the hardest to finish, but they always end up as my favorites. Favorite track: Like the Woodcutter Sawing His Hands.
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1.
Mesmerized by the outline of a shadow cast by a phantom This torn wet-smelling hallucination of the body a pitiful remnant torn from weak old fingers The smoke trembling under the roof The sound of wind against the elm The thin perilous condition of negative entropy Discourse is not life Its time is not ours These are the arrows that kill sleep in the night at all hours The flood is gone, the ebb has come
2.
We infer, rather than perceive The remembered present The harvesting of ruins A regress that always ends in darkness Finite provinces of meaning The moment already far away Blind keys spin Horns echo backward Time is an abyss
3.
I cannot tell the true riddle of my own self The great fleet of thorns The tumult of inner voices Mindlessly persisting The hours that assail all things Every second is a cage Every action is a cage Every reason is a cage Anguish is alone Its supposed companion a ghost
4.
Palimpsest 08:19
Disposable morphology Caving in the cage of my body Sarcophagus full of black water The galling sense of intolerable restraint Straying through an infinite nothing Wasted youth chained to this tomb Torn away from that self who could do more Yearning to crawl in among the machinery Rain over black algae Charred crucibles
5.
New vermin blood in old vermin skin That true secret whispered to a fence of reeds Driven over the bones of the dead Repetition like a curse Ice moving across the earth Tangled within a feedback loop Worms in spacetime Knotted by habit What shapes do we express? We are the damned, damned by the will to live
6.
White stone in the white sunlight The labyrinth of remembrance The empty stony maze Killing memories with a sharpened awl Killing the moments to come Beyond good and evil Beyond freedom and dignity No standard, no security, no simple acquiescence I am in Athens and Pericles is young

about

Notes:
Several tracks on this album feature multiple simultaneous tempi, something I haven't previously explored aside from triplets (a 3:2 tempo ratio) and hemiolas (a 2:3 ratio). The coda of the first track features a tempo ratio of 7:8, with seven beats to a measure in the guitars and 808 and eight beats to a measure in the bass, drums and processed rhythm. The closeness of the 7:8 ratio creates a rhythmic interference pattern or “dissonance”—the ear expects resolution in the form of one tempo either slowing or accelerating to match the other and establish a common pulse. Other tracks use more complex ratios, like the 4:5:6:7 ratio at the most complex point of “I Am in Athens”. With four simultaneous tempi, unlike two, the feeling of being pulled towards a resolution dissipates, perhaps because there are so many possible resolutions, and the rhythmic aggregate stabilizes. “Palimpsest” doesn't use multiple tempi but is structured around a consistent 33-beat hypermeter, something I haven't used before in my metal work. I've been writing music in shifting meters for so long that having a single hypermeter governing an entire track seemed almost like cheating; having every part of the track last 33(n) beats allowed me to interrelate the track's sections to a greater degree than I usually manage. These rhythmic strategies are part of a long-term goal to unite aspects of my electronic work, which uses process-based gradient structures and is concerned primarily with rhythm and timbre (see Dialectics), and my black metal work, which is pitch-oriented and structured in traditional discrete sections.

The pitch content that opens “Woodcutter” is a microtonal extension of the opening theme of Brahms' first piano quartet, though it's not easy (or necessary) to hear the source in the final arrangement. The guitars play transformations of this material created through standard serial operations and also by winding or spiraling through a complete or partial array as if it were a labyrinth, a technique of Ursula Mamlok's described in Straus's Twelve-Tone Music in America. The opening section of “Consciousness” is a sequence of ninth chords expanding microtonally from darkest/most compact to brightest/broadest. A few of the riffs on this album are sound collages created by arranging samples derived from recorded improvisations in different performance styles (slide, harmonics, arpeggios, palm-muting). The riff that opens “I Am in Athens” was inspired by the feedback-punctuated riffs of bands like Grief and Eyehategod.

“At the Limit of Fertile Land” is from Boulez's nod to Klee. “Like the Woodcutter Sawing His Hands” is a phrase from Renée Riese Hubert's “Three Women Poets: Renée Rivet, Joyce Mansour, Yvonne Carouth.” The title “Consciousness Is Nature's Nightmare” is from Cioran's Tears and Saints by way of D.F. Wallace's late masterpiece “The Suffering Channel” and the title “I Am in Athens and Pericles Is Young” is from Frank Belknap Long's “The Hounds of Tindalos,” though I can't exactly recommend the story. The line “white stone in the white sunlight” is from Jack Gilbert's “Ovid in Tears.” The image behind the ouroboros on the cover is an x-ray of Rembrandt's De Staalmeesters.

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released June 6, 2016

Created January 2013 - December 2015

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