The Dutch Kristus Kut ("Christ Cunt") is a noisy, dark and industrial ritual music-outfit, which has been driven forward by it's main man Dr. Kut since its birth in '08. The band released a live-recorded album entitled 333 earlier this year, and this studio-recording followed shortly afterwards.
This lenghty album starts peacefully with twelve minutes of stylish death industrial-like droning, that receives quite a bit of extra depth from some guitar effects and heavy and distorted beats. Its six-minute follower takes the droning to a lot calmer and more ritualistic dimensions through focusing on soft wooden beats that get some soft backing by the metallic drone and a few bassy notes. It's a strongly rhythmical tune that really takes one's attention due to its minimalism and the amount of contrast created by the almost silent moments and the louder and more powerful ones, and plain is one of the most stylish songs I've ever heard from Kristus Kut. The nine-minuter "Belly Trapped" follows in the same footsteps, but has a wider variety of different soft beats and focuses more on small detail creating a lot of movement instead of executing any powerful notes. A risky choice, but one worth taking.
After a sloppy (but luckily short) spoken piece the listener gets taken to more oppressive spheres in the highly ritualistic song five. The song emphasizes its steady chanting vocals, some of which comes manipulated and distorted, that take the listener on an eight-minute long journey. It all begins very peacefully, but the song slowly builds up more and more distortion and oppression through the vocals, whereas the slow and simplistic backing beats stay roughly the same throughout the song's lenght. It serves as a good uplift and both emotional and atmospheric climax, especially since the album has (in a way) been building up to it for the previous thirty minutes. The song has a surprising brief twist of electro-analogue blur, too, which fits in surprisingly well. I'm still glad it's used merely as a twist amidst the "actual main thing" on the album.
The second part of "The Transformation of Love" is an experimental drone-tune served through a looped array percussions, which is topped with a thin layer of high-pitch analogue noise that gives the lower beats a lot of contrast and extra force. The song has enough of more spontaneous and unpredictable variation to stay enjoyable for the whole seventeen minutes, mostly due to it providing both easily listenable beats as well as more challenging noise. It also serves as a build-up for the last song "Vagina Libertatis," which, despite its highly appealing percussions, distorted vocal bits and the carefully imbued electronic twists, was the sole greatest let-down on the album. The 21-minuter is otherwise a pleasing listen, even though the hoarse drones do soften the song up too much here and there, but I get plain annoyed when listening to it due to a male voice repeating the words "Kristus Kut" throughout the song's lenght. Loops can be executed stylishly, but this one is a mere atmosphere-killer in my ears, and makes me skip the whole tune way too easily. Maybe my ears get used to the sample after a few (dozen) more spins, but it doesn't make it any less tacky.
Despite the last song providing a major slap in the face, it merely strips the album down from a climatic ending but otherwise keeps all the previous songs as quality ones as they'd be without its existence. "Butterfly King" is an intriquing album and demonstrates many stylish and "brutally elegant" compositions, and has a very deep and powerful soundscape which does great justice to the songs and their contrasts. It could've been more daring and innovative, meaning that the artist focused too much on his safe zone instead of further approaching the borders of his expression and skill. Also, Dr. Kut could've thought twice about overusing the narrow variety of samples, and the visual side could've and should've been a lot better instead of overusing the cover image. The album should serve as a good pick for KK-fans and those who can handle the artist experimenting and playing around a bit with his creations.