History Music / JuteGyte

* LongTitle: His albums don't exhibit this trope, with the sole exception of the early EP ''It Was a Great Marvel That He Was in the Father Without Knowing Him'', but many of his songs do. Some choice examples, in chronological order (and by no means a complete list):
** "To Return and Revere the Desolate Places (Late Idyll)" (from ''Verstiegenheit''; most other song titles from this album are also pretty long, but this one takes the cake)
** "The Hopelessness of Passing Time and the Melancholy of Unalterable Past Events" (from ''Isolation'')
** "The Natural Poverty of Our Feeble and Mortal Condition" (from ''Senescence'')
** "The Haunting Sense of an Unrepeatable Unidirectional Vector" (from ''Discontinuities'', another album with a lot of fairly long titles)
** "Semen Dried into the Silence of Rock and Mineral" (from ''Vast Chains'')
** "For the Nightly Ascent of the Hunter Orion Over a Forest Clearing" (from a 2014 split with Venowl and the later compilation ''The Rib'')
** "Like the Deepening of Frost in the Slow Night" (from ''Ressentiment'', yet another album with mostly long titles)
** "The Norms That Author the Self Render the Self Substitutable" (from ''Oviri'')
** "The Foam That Flows from the Mouths of Wild Boars" (from ''Birefringence'')

* UncommonTime: Copious, and sometimes taken to extreme levels. He also has taken polyrhythms UpToEleven by featuring multiple simultaneous tempi, sometimes to a degree that might make Music/{{Meshuggah}} blush. According to the notes for ''Oviri'':

* GenreBusting, GenreRoulette, NeoclassicalPunkZydecoRockabilly: Even by the standards of avant-garde black metal, this project is particularly difficult to classify, particularly since Kalmbach releases most of his music as Jute Gyte, regardless of genre. As a result, a blistering metal album may follow a serene ambient album in the band's chronological discography, and thus it's impossible to have any idea what you're in for without listening (or at least reading reviews).

** The metal ''tracks'' often have breather episodes as well; "Yarinareth, Yarinareth, Yarinareth" has a good example about midway through the song. However, most of these songs are so heavy at their heaviest moments that they still qualify as at least Level 11 on the Mohs Scale of Rock and Metal Hardness.

* LastNoteNightmare: "What a Bird Bore Away Over the Deep Ocean" starts out as an acoustic piece, but contains increasingly more noise as it progresses. It's still much lighter than the rest of the album it appears on (''Young Eagle''), with the possible exception of the final track, "The Flower and the Chain", which qualifies as this trope in its own way - it begins as a serene ambient piece based around piano, synthesizer, and birdsong, but both channels contains noise elements that get progressively louder throughout the piece, and it contains increasingly more dissonant notes as it progresses as well. Overall, both of these probably amount to about Level 5-7 on the Mohs Scale of Rock and Metal Hardness, as opposed to the Level 10-11 material that comprises most of the rest of the album.

* MohsScaleOfRockAndMetalHardness: From 1 to 11 and beyond, sometimes within the same song. However, his metal work is so heavy that, even when it features lighter interludes, most of it can't be classified below 11; the 24-note scale he has used since ''Discontinuities'' has, if anything, made his recent output even heavier.

* SurprisinglyGentleSong: Let's put aside the albums that have essentially nothing to do with metal as irrelevant to this trope. Even on most of his metal albums, some tracks are a lot less heavy than the surrounding material, usually to provide a BreatherEpisode. ''Discontinuities'' the ''album'' is mostly Level 11+ experimental black metal, but "Discontinuities" the ''song'' is an avant-garde guitar piece based on an ascending pattern on the 24-note scale that doesn't qualify as metal at all; it sounds more like it was beamed to us from an alternate universe where Music/KingCrimson's Robert Fripp got into microtonality.[[note]]Think "Fracture" or "Discipline", but slower and without the full band accompaniment.[[/note]] It's still plenty avant-garde, weird, and unsettling, owing to the microtonal scale, but it's probably about Level 4-6 on the Mohs Scale, owing to the complete lack of any guitar distortion.

Most of the tracks have sections in multiple simultaneous tempos, like the prolation canon in a 4:5:6:7:8 ratio in ["The Norms That Author the Self Render the Self Substitutable"]. "Democritus Laughing" opens with a four-measure riff that accelerates by gaining an extra note each measure in a horizontal 4:5:6:7 ratio, for a total of 22 notes. The 22 pitches played by the opening guitar were generated aleatorically by rolling a 24-sided die; the three other guitars play serial transformations of that pitch material. When the drums enter, the tempo ratio becomes vertical and the four guitars trade tempos in that 4:5:6:7 ratio every time the opening theme recurs.

* EpicRocking: Almost every song. A typical Jute Gyte release (insofar as there is such a thing) has about six or seven songs and runs for about an hour. Most songs tend to be in the 7-16 minute range. A few are way longer; the longest is probably ''Diapason'', which consists of a single song and runs for two hours and twenty-three minutes. Also of note is ''Respice Finem'', which likewise consists of a single song and runs for more than eighty-seven minutes. Some albums are also quite long; ''Penetralia'', which is nearly four hours long, probably takes the cake, though.

* GenreBusting, GenreRoulette, NeoclassicalPunkZydecoRockabilly: Even by the standards of avant-garde black metal, this project is particularly difficult to classify, particularly since Kalmbach releases most of his music as Jute Gyte, regardless of genre.

* SophisticatedAsHell: His lyrics tend to be very erudite, but he's not above throwing in occasional vulgarity when it serves the song. He manages to make even this sophisticated, though: One of his songs might be titled "Your Blood and Soil Are Piss and Shit," but in the album liner notes, he quotes Creator/{{Voltaire}} (describing humanity as "insects devouring one another on a little atom of mud") and (an apparently misattributed quote of) [[Creator/AugustineOfHippo Saint Augustine]] (in Latin, no less: "inter urinas et faeces nascimur," meaning "we are born between urine and feces")[[note]]Technically, ''[[https://en.wiktionary.org/wiki/faex#Latin]] faex'' (''faeces'' is its plural) means "dregs", "sediment", "salt of tartar", "brine used for pickling", "rouge as makeup", or "grout from brewing"; however, in this quotation it means "feces". Interestingly, ''urinas'' is the accusative plural of ''[[https://en.wiktionary.org/wiki/urina#Latin urina]]'' (''inter'' takes the accusative); ''urinam'' would be the accusative singular. The first known citation of the quote is [[https://books.google.com/books?id=qrEaAAAAYAAJ&pg=PA820&dq=nascimur+inauthor:Hyrtl&hl=en&sa=X&ei=z3RtUru2LMzKkAfnm4DoAQ#v=onepage&q=nascimur%20inauthor%3AHyrtl&f=false an 1867 anatomy textbook (in German) by Josef Hyrtl]], who attributed it to "a church father"; it was subsequently popularised by Dr. UsefulNotes/SigmundFreud, who apparently found it in Hyrtl's textbook. The quote apparently does not appear in Augustine's surviving writings.[[/note]] to back himself up.

* SophisticatedAsHell: His lyrics tend to be very erudite, but he's not above throwing in occasional vulgarity when it serves the song. He manages to make even this sophisticated, though: One of his songs might be titled "Your Blood and Soil Are Piss and Shit," but in the album liner notes, he quotes Creator/{{Voltaire}} (describing humanity as "insects devouring one another on a little atom of mud") and [[Creator/AugustineOfHippo Saint Augustine]] (in Latin, no less: "inter urinas et faeces nascimur," meaning "we are born between urine and feces") to back himself up.

* NewSoundAlbum: He's arguably had several, but it's difficult to classify any specific album as a "new sound album" because his style is so difficult to classify. However, ''Discontinuities'' is particularly noteworthy for being the first album purely based on a 24-note scale, although he had used microtones before then (e.g., the detuned mandolin of "Snail" on ''Old Ways'', the lap steel guitar he used on ''Impermanence'').

* SophisticatedAsHell: His lyrics tend to be very erudite, but he's not above throwing in occasional vulgarity when it serves the song. He manages to make even this sophisticated, though: One of his songs might be titled "Your Blood and Soil Are Piss and Shit," but in the album liner notes, he quotes Creator/{{Voltaire}} (describing humanity as "insects devouring one another on a little atom of mud") and [[Creator/AugustineOfHippo Saint Augustine]] (in Latin, no less: "inter urinas et faeces nascimur," meaning "we are born among urine and feces") to back himself up.
* SurprisinglyGentleSong: Let's put aside the albums that have essentially nothing to do with metal as irrelevant to this trope. Even on the metal albums, a track can occasionally be a lot less heavy than the surrounding material. ''Discontinuities'' the ''album'' is mostly Level 11+ experimental black metal, but "Discontinuities" the ''song'' sounds like what Music/KingCrimson might've produced if they'd written "Discipline" on a 24-note scale. It's still plenty avant-garde, weird, and unsettling, owing to the microtonal scale, but it's probably about Level 4-6 on the Mohs Scale, owing to the complete lack of any guitar distortion.

* LastNoteNightmare: "What a Bird Bore Away Over the Deep Ocean" starts out as an acoustic piece, but contains increasingly more noise as it progresses. It's still much lighter than the rest of the album it appears on (''Young Eagle''), with the possible exception of the final track, "The Flower and the Chain", which qualifies as this trope in its own way - it begins as a serene ambient piece based around piano, synthesizer, and birdsong, but both channels contains noise elements that get progressively louder throughout the piece, and it contains increasingly more dissonant notes as it progresses as well. Both of these probably amount to about Level 5 or 6 on the Mohs Scale of Rock and Metal Hardness, as opposed to the Level 10-11 material that comprises most of the rest of the album.