Dissection Maps – Old Saw
Old Saw
Dissection Maps
EP
Experimental
Louis Pelingen
November 30, 2024
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In modern electronic music, one of the most difficult spectacles to pull off is the creation of something that is unquestioningly slick. A piece of music or a release that moves and flows without the listener questioning its composition or the conviction of its sound. This challenge can fell the most experienced artists and the most talented musicians. An album or song can be an absolute triumph, but still feel lethargic and unkempt in its step. MoMA Ready’s newest release presents a sound that is cunning and confident in equal measure.
From the very start, We Love Music asserts a pacy rhythm providing no real time for the listener to make themselves comfortable. Timid keys paint deep purples on rapid percussion, creating a cool and calculated sound. This is then carried over and pushed up a few notches in the Judgement Child. In this track, the spoken vocals of the opener are unleashed in an even purer form. A voice cycles through an endless spiral of confessions, fitting them perfectly within the commanding bass drum and skeletal cymbals. The monotone delivery rifles through references to disturbed sleep and strange dreams. Every aspect of the track is perfectly spaced out from each other, the keys subtly rising up with tense chords, the cymbals providing a general sheen to the more rhythmic moments.
MoMA Ready plays around with a little more of a jungle sound as we proceed into the later tracks. Clattering samples sharpened down to a fine point, soothed by the voice of Mina Thomas and an incredible, calculated saxophone performance by Yunie Mojica on Simple As a Song. It is almost as if the intense percussive samples halt out of politeness and respect for the beautiful singing at certain points. Tamy Stevens then provides effortless lyricism on Flashbacks, straying from the beat at points to fall back into it a little bit later on, creating a laidback mood. Percussion comes in pulsing waves, ebbing to and from from the listener carrying ghostly harmonies along with it.
The artist presents a hypnotic sound from early on with austere vocals and beats with a serious momentum behind them. It is a wonder that the more cacophonous tracks don’t disrupt this swift flow, but something about the release in general is so tight and artful. The jungle sound that is infused is not overbearing and instead provides certain tracks with this supercharged energy that MoMA Ready can call upon instantly. As the guests are introduced, it becomes abundantly clear the time and talent that has gone into Untitled.’s creation.
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