Tim Hecker, Sevendeaths
(Dissection Room, Summerhall, Edinburgh. 2 April 2019. Review by Fiona Mactaggart.)
Outside the former veterinary school, a sudden hailstorm raged, auguring the arrival in Edinburgh on his sole UK appearance of Canadian electronics wizard, experimental composer Tim Hecker.
It was to be a double treat for the almost full capacity crowd in the darkened Dissection Room, as esteemed Edinburgh-based electronics composer Steven Shade aka Sevendeaths opened for Hecker. Indoors the storm continued. Throughout an hour discernibly five pieces were played, Sevendeaths moving from music concrete-style white noise, through death metal loudness to lovely snippets of melody, all the while layering the sounds and rhythmic interplay sufficiently to engage a rapt audience. A notable, lighter piece played early on, with its rapid rippling over slow breathing effects even brought to mind the likes of musical polymath Lukas Ligeti’s seminal Afrikan Machinery.