Sev Seveer is a hardware beat maker from Chicago. He is a resident of Chicago-based Push Beats collective and has been featured at SXSW, Beat Cinema, the Toledo Museum of Contemporary Art, Exploded Drawing, and by the Chicago Tribune.
While he is generally known for his academic approach to thoughtful, experimental projects, Shelfie Baps II is a hard hitting compilation made mostly of battle beats and shelved instrumentals for rap projects. The Shelfie Baps series consists of unreleased and rarely heard instrumentals made over longer spans of time.
Shelfie Baps II is Sev Seveer’s second 12″ LP and his third official release, all available on Beats of All-Nations. With launch of this pre-order supporters will receive “Daily Bread (w/ Booda Blaou & Waterr)”, the first single “Fah,” accompanied by a music video composed entirely in Snapchat and the first installment of the self-released, Shelfie Baps (2016). PRE-ORDER VINYL!
Vinyl is in production now and limited to 300.
Vinyl Ships January 4, 2019
Executive Producer: Beats of All-Nations
Produced by: Sev Seveer
Photography: Mike Bump
Album Design: RTST
Video Editing on “Fah”: @Soundinsect
>>>>DOWNLOAD & ORDER LIMITED VINYL HERE<<<<
Smithereens is yet another one of my journeys into bringing visual stimuli to sonic fruition. In this case, my prompt and inspiration was Neo-Impressionism, particularly Pointillism. Last year I created an instrumental that eventually went on to be the title track of this project. The song was so complex in nature; I couldn’t even tell you where my mind was when I was arranging it. It wasn’t even a recording that I was sure I liked at first, mostly because of its frantic and composited structure. In an unrelated instance (or maybe it was related, subconsciously) I was reading about Georges Seurat and his role in leading the French Neo-Impressionist movement in the late 1800s. It occurred to me that this style of visual art was the only way I could describe the song that would eventually go on to establish Smithereens as a project. Initially when I began to lay out supporting instrumentals, I made stringent attempts to abide by the complexity of the concept song. I found that it couldn’t be done, and that the beat was truly a moment in time. I then decided to continue studying Pointillism/Divisionism and some of its key characteristics— the progressive yet realistic use of primary colors, lighting, contrast and also very importantly, movement— as my guide in arranging new instrumentals in their own unique way, while still keeping with the prompt.
In music theory, the parallel/counterpart to Pointillism is known as Punctualism. Punctualism essentially gives unique individual life to each note in a piece. Arpeggiated notes of varying pitches, lengths and dynamics take the place of the ‘colored dots’ that you see in pieces such as Seurat’s most famous work, “A Sunday Afternoon on the Island of La Grande Jatte.” The techniques were independently established of course, i.e neither gave birth to the other. Their juxtaposition is largely interpreted perspective.