Jérôme Deuson chose a future-proof moniker as his nom-de-musique, because his ten-year recording career has been characterized by mutability – of the nature of the life of the artist and thus the nature of his art. Black Diamond Blues taps into outsider rock and his latest album, Bending Time in Waves, might be identified (at least to a degree) as a kind of idiosyncratic shoegaze pop.
Under cover of a powerful painting by fellow Belgian Moché Kohen – disembodied faces floating in a blood-red Sargasso – aMute´s guitar, electronic devices and piano despair about “love and other lies.” Savage Bliss is an album of dense, exceptionally eloquent textures, a bleeding heart seeping under a plaque of opaque distortion. It is part mute troubadour´s autobiography, part gory thriller, a little comic relief (sampled tour bus squawk box at the Grand Canyon), and all romance, no matter how tragic. Deuson plays like there is a hole in the world and he wants to fill it.