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Jute Gyte - Isolation - 90%

Ancient_Sorrow, May 9th, 2012

Originally posted on my reviews blog at heavymetalspotlight.blogspot.com

"I really ought to review that new Jute Gyte album" I thought to myself about a week ago, followed by "oh, he's made another one!". It's a testament to the man behind the project, Adam Kalmbach's, work ethic and impressive creative output, releasing many albums per year, some of them black-metal, some of them not. Isolation is the first black-metal album by Jute Gyte so far in 2012, and carries on where his previous four black-metal albums left off, much to the enthusiasm of the project's growing underground following.

My knowledge of musical theory may be sketchy at best, but Kalmbach's evidently isn't - The man knows what he's doing, and the album is, as accustomed, packed with a lot of musical wizardry which very much causes it to stand out from just about everything else. The Bandcamp page proclaims that the music is full of things which I've never even heard of, let alone am capable of recognising, but even a musical-cretin like myself can tell that the album, and Jute Gyte's black-metal in general, for that matter, is unique and fascinating. The signature desolate atmosphere which Jute Gyte mastered is ever present, and the guitar-sound is as caustic and hypnotic, but also seemingly more intricate and concentrated than the earlier records. This has the effect of making "Isolation" as thought-provoking, mind-melting and generally many-layered as the past albums, and then some. One of the things I always notice, and enjoy, about Jute Gyte albums is just how much there is going on - the songs are not only diverse, but work on several levels at once, some signatures of the projects style, other's novel and new. Isolation keeps all of the key features of Jute Gyte's sound, but also shows a steady development in sound and style which is pleasing to watch unfold, and it's very engaging that all of the albums sound a little bit different.

In what seems to be a custom, intentional or not, track four of the album, the title-track in this case, is ambient; relaxing but still enthralling, deep and rewarding to listen to. It offers a serene island in the harsh and wind-blown landscape of the rest of the album, and demonstrates Kalmbach's ability to work equally well with electronic elements. The drum-programming is also excellently done, and the drums keep the rhythm and decorate the music nicely. They sound a little inorganic and cold, but this is certainly something which they make up for with their other attributes, and most of the time they work together with the rest of the music, not against it. In terms of production, Jute Gyte's sound hit the nail on the head quite early on, and this album simply carries on that style - all of the layers are audible, with the full insanity and brilliance of the music laid-bare, designed to be heard. The harsh, slight background fuzz adds to the character and the dry, haunted atmosphere, and on the whole, the sphere of production and indeed tone are top-notch.

Like the albums before it, Isolation is a really unique album. As far as I know, literally no other black-metal band even comes close to sounding like them, and this certainly makes the music, impressive in it's own right, feel all the more special and visionary. Thinking-man's black metal, and very solid, at that. Give it a listen, and pick up on the enjoyable and intangible qualities I neglected to adequately describe.

The walls stand speechless and cold - 85%

autothrall, May 8th, 2012

Isolation is the fifth album I'm reviewing from Adam Kalmbach's Jute Gyte, and I can say with certainly that I've yet to be disappointed. In fact, this is precisely the direction underground black metal in the States needs to take: textured, creative and intelligent without shunning the conventions that were originally conceived overseas by the genre forebears. Part of Kalmbach's charm does originate from his heavy investment in nuance and experimentation (a lot of albums under the Jute Gyte brand eschew the metallic ingredients entirely in favor of other styles), but really when you strip away the influences it comes down to his skill at bare bones sound architecture and songwriting. The guy can keep you engaged for often 9-11 minutes per track, even through the more repetitious sequences, and that's more than I can say for most trying their hand in this field.

Immediately, the poetic imagery of the lyrics and the driving depth of the chords to the opener wrap themselves about the listener's ears like a caul of warmth and carrion, tortured and desolate yet strangely alluring like a sunrise on a frosted, open plain. "The Hopelessness of Passing Time and the Melancholy of Unalterable Past Events" is one mouthful of a song title, but its fitting to the nostalgia imparted through the beautiful, somber and romantic trails of melody that are carved out over the denser fibers of the rhythm guitar, not unlike some of the more modern, progressive Enslaved records. The second piece, "Age, Separation and Cold" is at once more high pitched and dissonant, driven into the listener's brain over 9 minutes of blasting with breaks into slower vistas where the guitars continue their acidic reign over the steady, mid-paced drums. Isolation deviates further left of center with more of a post-metal deconstruction in "A Wind Upon the Open Fields", or the thrashing indoctrination of "The Cry Essaying the Waters", or the jangling post-punk belligerence of "The Irreality of the Past" in which Kalmbach evades the usual rasp in favor of a guttural aesthetic to his voice. Intense.

However, by far my favorite piece on the album is actually the titular "Isolation": a 7+ minute foray into pure, scintillating ambiance which is easily one of the best I've heard of its type lately. Through simple flute-like synthesis and airy textures, you're hurled into this sad, expansive terrain in which you feel as if something major is just about to happen. Perhaps the grasslands will flood with rain from a restless sky, or perhaps the earth will just rise silently and swallow you, but it's an incredibly effective and poignant means of escape. I feel like the only downside to this track is that it's so blindingly awesome that the rest of the disc almost seems pale by comparison, despite its own ingenuity. All I know is I've listened to this on repeat about a dozen times one afternoon, numerous times since, and I'm completely hooked. Granted, I'm a sucker for the stuff.

As usual, with any Jute Gyte release you're getting the great DVD packaging, simplistic natural artwork that truly reflects the aural environment contained within the music, and humble production values which capture all the grisly hiss of the black metal underground, incendiary guitars, machine gun mechanical blasting, and lush rasping vocals. There are a few points at which the drumming can become monotonous, and the curves of the bass lines are often inconsequential, but otherwise this is another floodgate of melancholic aspiration which deserves any earspace you might grant it. Past Jute Gyte recordings have, in truth, felt more eclectic and varied in nature, and I may not have been engaged by this quite so fully as Old Ways or Impermanence, but Isolation is worth having for the title track and the opener alone, the rest is just an added icing of pain, an hour of fitful release. It's time to start talking about this project with the same reverence once given to US underground mavens like Xasthur and Leviathan.

-autothrall
http://www.fromthedustreturned.com