Dissection Maps – Old Saw
Old Saw
Dissection Maps
EP
Experimental
Louis Pelingen
November 30, 2024
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August 2, 2020
Tracks in this feature
Tracks in this release
A rendition of h i m begins w i n t e r q u i l t 愛が止ま’s exclusive acoustic set from the Aquablanca/vaporspaceSTL twitch stream. The screeching of small, almost unseen creatures precedes the start of the recognisable layered vocal melody. Instead of some yawning monster, the clear tones of a human voice echo through what sounds like a great church hall. At the end of their motif they are met with beautifully pristine acoustic guitar chords. From there we launch into the main section of the track. It is bewildering in the first instance of listening. The original track seemed so indebted to its affected, sequenced format. Yet here, w i n t e r q u i l t 愛が止まdelivers the same song in a different and touchingly human style.
Next is a stripped back iteration of a track from the artist’s forthcoming release. A wistful acoustic melody plays out. A bass begins a complex and engaging supporting role, a cushioning for the open ended nature of the guitar. With these tracks being stripped back to their bare characteristics, the listener can get more of a sense of the influences that the artist pulls from. The vocal laments that follow along the pathway of the melody have a dark, folky feeling to them. But as w i n t e r q u i l t 愛が止まbreaks through the thicket to sing ‘It’s you again, fateful love, fall in love again…’ one can hear everything from the emotive stylings of R&B to the morose tones of metal music. The track sets out on a new tonal trajectory halfway through, rapid acoustic pairs of notes work through a breakdown of sorts. A gnarled voice sings from some deep, dark hole.
Infectious Boneyard‘s leading guitar tune plays out with an eerie dissonance. The resonant cymbals sound like the rustling of wilting trees as a slow-moving rhythm plays out. Once again, w i n t e r q u i l t 愛が止ま works outward from the very foundation of the music. The bassline gesticulates wildly, leading the listener on a wild and unexpected chase through the dark undergrowth.
Another sweep of guitar notes leads to stardust cymbals spraying across an expansive soundscape on His Cloven Hoof. w i n t e r q u i l t 愛が止ま lays down a steady bass note before lifting the listener into the main section of the track. Another song that toys with a dark rock sensibility, veering frequently into build ups and breakdowns. The lyrics convey a cold, gothic aesthetic, supported by the macabre melodies and ghostly crooning of the vocals. In the second half of the track, a beautiful and unpredictable flute dances gracefully on top of a swelling guitar and bass rhythm.
My Lord Satan I Am Ready settles into an inky and pleading sequence, high pitched vocals calling upon the lord of darkness for strength. They lift into a gentle harmony, contrasting the ghastly nature of the song’s narrative, reminiscent of folk rock’s transmutation of the dark into the wondrous and fantastical.
The closing track to the unplugged set is the finale of w i n t e r q u i l t 愛が止ま’s 2019 EP H Y M N. w o v e n‘s usually skeletal, detuned opening is augmented here, the recognisable guitar sequence sounds more haunting than frantic and horrific as it did in the studio version. The bass follows the same pattern, sticking to the side of the guitar part, creating an ever-moving sound.
w i n t e r q u i l t 愛が止ま’s H Y M N showcased an artist purposely utilising an amalgamation of different genres to create something that genuinely sounded new. In this unplugged set, the artist proves themselves to be even more diverse than that EP inferred, while also reiterating the organic musicianship and engaging composition that lies within their work.
https://winterquilt.bandcamp.com/album/winterquilt-unplugged
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