You could describe the music of Sevendeaths as something very visceral. His sound seems to punch right through you, shaking out your ears in order to reveal itself to you. His latest release Concreté Misery is gripping, dark thirty minutes. It is a combination of cold stone techno with foggy white ambience: it’s an intriguing combination and a thrilling listen. The EP’s opener “Petrograde” serves as the best taste of Sevendeaths and truly is a modern masterpiece. It has a sublimeness to it yet feels absolutely based in the earth: it feels like a vision from the past of the future.
The best way to describe the song is that it is a rough ambient drone attempting to smother an electronic banger. It opens with an extremely heavy chord progression that are slowly carried on, shifting their weight as lighter tones come in. The smokiness of the sound feels impenetrable until a fascinating, brilliantly bright tone pierces through as if it were a lick from a pop song. It feels out of place but absolutely necessary. Sevendeaths music is less about sound but more of creating an environment. With “Petrograde,” you can see yourself being in a cave or atop of a clouded mountain, places where your vision is obscured. That piercing sound is like a neon light, illuminating everything or providing an emotional glint of hope or some clarity to your situation.
A lot of music has the power to move a person and, like Tim Hecker and Steve Hauschildt, Sevendeaths (Scotland’s Steven Shade) proves he is capable of doing the same. The rest of the EP is great, covering the guitar heavy anti-church tune with “And Another Another” and enveloping closer “In The Room.” It’s a great little listen that is a step up from his initial release Sometimes, Silence (which, if you are interested in, can be downloaded via last.fm).