granny records
My Machines LP | granny07 cover

inverz

My Machines LP | granny07

Release date: December 2011

Edition number: 250

Price: €15


Mastered by Giuseppe Ielasi

Cut by Rashad Becker at Dubplates and Mastering

Artwork by Opora

 

In ‘My machines’ inverz focuses on the collection, process and reproduction of old vinyl records wich are then combined with sound samples from musical and non-musical sources, resulting to a dark-ambient soundscape.

 

‘My machines’ is inverz’s (Savvas Metaxas), fourth release to date. The LP’s six tracks were recorded between autumn and winter of 2010.

tracklist • select to listen

reviews

Textura

Recorded between autumn and winter of 2010, Inverz's My Machines spreads six slabs of electro-acoustic dark ambient across two twelve-inch vinyl sides (available in 250 copies). It's the fourth release under the Inverz name by Savvas Metaxas, who's otherwise known as the guitarist in Good Luck Mr. Gorsky. It's only natural, then, that guitar figures prominently in the album's material, but, having said that, it would be misleading to characterize My Machines as a guitar-based album, as the instrument is just one of many that make up the album's sound world. As stated, Inverz's material is generally dark ambient in nature, with Metaxas drawing upon a wealth of manipulated vinyl samples as well as sounds culled from musical and non-musical sources for the album's construction. Electric and acoustic guitars, synthesizers, and field recordings constitute some of the sources Metaxas used to produce the six settings.

It wouldn't be stretching things too far to say that the album often plays like a quintessential Miasmah release, especially during those moments when cavernous, dungeon-like spaces are evoked. Consider “A Series of Tragic Events,” whose creaking noises suggest some hapless victim being strapped into a torture device, as one such example (the presence of ghoulish chantings only makes the track seem all the more unearthly). Also consistent with the Miasmah style, a neo-classical dimension emerges during the ultra-woozy “SVL” when a vocal loop swims alongside shuddering fragments of orchestral instruments. Elsewhere, macabre industrial clatterings resonate within a ghostly, crackled-infested zone during “This Machine Is Dead,” resulting in a haunted gloomscape that's like some diseased, long-buried memory welling up from the unconscious. Relatively becalmed by comparison, the final piece “About Closure” carves a ponderous path through a ruined landscape of guitar strums and violin scrapings. Those with a jones for hell-bound ambient soundscaping could do a whole lot worse than sample Inverz's plunge into the dark side.

 

VITAL WEEKLY

'My Machines' is the fourth release by Savvas Metaxas also known as Inverz and I believe the first on LP for him. I reviewed two of three previous releases, which seemed to be dwelling heavily on processed guitar, but according to the information this new record 'focuses on the collection, process and reproduction of old vinyl record which are then combined with sound samples from musical and non-musical sources' - but I wouldn't be too surprised to know if he'd thrown some more guitar and sound effects too. Compared to his previous record 'Songs' (see Vital Weekly 639), this new one seems a bit more densely orchestrated, resulting in soundscape like music of a darker nature. Now the fact that I think its not all from old vinyl is in a track like 'About Closure', which has a looped guitar, a bend violin and crackles from vinyl (which sometimes are a lot, so that one isn't sure if this is from the pressing or the actual music - nice!). But yes, throughout there seems to be indeed various bits from old vinyl being used. Unlike Daniel Padden's recent LP which went in a similar direction, Inverz uses a more abstract form on his music, given away less from the original than Padden and despite the some over active use of reverb delivers a highly enjoyable record. Inverz' music has grown from the previous one, in which he was too much of one of the drone guys, and now he has expanded his drones into a bit wider field of musique concrete like sounds. Throughout that works pretty well. The way to go, I'd say. (FdW)

 

TOUCHING EXTREMES

The fourth release by Greek Savvas Metaxas aka Inverz is also my first stumble upon his work. The sphere is that of oneiric soundscaping, in this case implying the exercising of aged vinyl in addition to instrumental fonts and real-life noises. A risky territory to move in – too many practitioners of the same act around, some of them excessively puffed up in relation to the music’s actual value – yet the assignment was definitely well handled: Inverz managed in fact to protract this reviewer’s interest during a number of successive listens, the classic “unavoidable comparisons” frame of mind all but absent. The psychological milieu where the sounds are competently placed appears to be of paramount importance for Metaxas, whose gently misshapen shards of erstwhile orchestral echoes and slowly oscillating concoctions of blurred recurrences often produce true art. Everything is filtered by several layers of translucent abstraction, rare morsels of tangible aural matter enhancing the whole; one vainly attempts to discern vague figures, or the provenience of a group of frequencies. This hopelessness in identifying what exactly is going on should be seen more as a reward than a deficiency on the listener’s side. This is music that must be left spreading without caring about who, what or when; it works, it is beautiful in its own unique way, and asks nothing except billowing all over the place.

 

R.A.D. VINYL

My machines’ is Inverz’s (Savvas Metaxas), fourth release to date. The LP’s six tracks were recorded between autumn and winter of 2010. In ‘My machines’ Inverz focuses on the collection, process and reproduction of old vinyl records which are then combined with sound samples from musical and non-musical sources, resulting to a dark-ambient soundscape. The Lp is available on black vinyl with fantastic cover art for the sleeve. Inverz has a great ear for spooky samples much like Leyland Kirby’s project the Caretaker creating a world of strange sounds that crackle and hiss like the old vinyl he samples. Where Caretaker lives more in the past sourcing 78’s for a lot of his material, Inverz finds a way to link these past recordings with a future sound. However Inverz’s future might be bleak, spooky and filled with harsh noises there still is some room for beautiful sound. This is a very engrossing listen as sounds loop and drift in and out of the mix taking you on a journey of sound. Inverz is an artist in the US that is not well known but well worth discovering

 

FOXY DIGITALIS

''Turntablism nowadays equals cannibalism – the latest Inverz LP is sourced largely from old LPs, creating obscure, sparse drones similar to artists like the beloved Black Swan.Savvas Metaxas’ new drone-based scenes are meticulously layered and then blotched out, emphasizing proximity and clarity. Gone is the improvised, blurry sound cloud bubbling endlessly in some remote cauldron; an artist like Inverz is working more actively with composing and representation, juxtaposing specific fragments to desired effect.Metaxas, based in the intriguing hotbed of Thessaloniki, Greece, is also working on the similar wavelengths as Milan-based artists like Giuseppe Ielasi and Attila Faravelli. In fact, Ielasi himself has mastered My Machines in his impeccably clear style. Metaxas’ sound palette includes twisted loops of orchestral and choral LP samples along with slowed-down piano, providing a contrast for vaguely industrial, crisp sound effects and manipulations. These occasional but regular events evoke space and distance vividly in the manner ofGiacometti’s elongated sculptures – some kind of faraway tonal source, down the hall perhaps, whose form is recognizable but distorted. But like looking close up at a Giacometti sculpture in a museum, one notices that the distancing effect is only simulated. This gives the dark ambience a sense of immediacy that seems detached or constructed at times, and not as immersive as the classic billowing drone clouds. But still, add this to the excellent material already produced by this stylish drone mutation."

 

ough.gr

Ο Σάββας Μεταξάς ζει και εργάζεται στη Θεσσαλονίκη. Γράφει μουσική για θεατρικά έργα και ταινίες μικρού μήκους. Από το 2007 ηχογραφεί σαν Inverz και μέχρι σήμερα έχει κυκλοφορήσει τέσσερεις δίσκους.

 

Το ''My Machines'', το τέταρτο άλμπουμ του είναι και το πρώτο που κυκλοφορεί στη μορφή βινυλίου, σε μόλις 250 αντίτυπα, από την Granny Records. Ο δίσκος αποτελείται από έξι συνθέσεις που ηχογραφήθηκαν το Φθινόπωρο και το χειμώνα του 2010.Το ηλεκτρονικό ποτάμι που θα ακούσετε για 33 λεπτά, μεταφέρει επεξεργασμένους ήχους και αποσπάσματα από παλιά βινύλια, συνδυασμένα με μουσικά και μη μουσικά δείγματα που δημιουργούν ένα σκοτεινό ηχητικό περιβάλλον, όπoυ περίεργα τριξίματα, μυστήριες ψαλμωδίες, νοσταλγικά trailer, αφαιρετικά και συμπυκνωμένα μουσικά ρεύματα πηγαινοέρχονται, αλλά δένονται αρμονικά με τη ροή αυτού του αρκετά παράξενου αλλά και ελκυστικού ποταμού.Αν σας έρθει στο νου ο Leyland Kirby, καλό θα ήταν να σας έρθει ως αρχική επιρροή ως προς την ιδέα της επεξεργασίας παλιών, σκονισμένων ηχογραφήσεων που ενώ κουβαλάνε τη σκόνη του χρόνου επάνω τους, συνεχίζουν να εκπέμπουν μικρά νοσταλγικά μυστικά στο πίσω μέρος των μέτρων και των συγχορδιών που εκτέθηκαν στο φως.Ο Inverz δημιούργησε ένα ηλεκτρονικό σκοτεινό ποίημα, αρκετά συγκεκριμένο και προσβάσιμο. Σίγουρα από τις κυκλοφορίες που δεν πρέπει να προσπεράσετε...

 

ough.gr in english

Savvas Metaxas lives and works in Thessaloniki. He writes music for theatrical plays and short movies. He is being producing music since 2007 as Inverz and he has released four albums as of today.

 

“My Machines” is his fourth album and it is the first one released on vinyl, in limited 250 copies by Granny Records. The record is compiled by six songs which were recorded in the Fall season of 2010.The electronic river which you are about to listen to for 33 minutes, is carrying samples and processed parts of old vinyl records, mixed with musical and non musical parts which create a dark sound environment, full of weird crackles and odd psalms, nostalgic trailers and dense minimal currents which are going back and forth, but they are tied together in harmony in the flow of this odd enough but also engaging sound river.If Leyland Kirby comes to mind, it’d be good to put him as a first come influence as for the process of old and dusty vinyl samples, which carry the dust of time along them and continue to emit small bursts of nostalgic secrets in the rack of the whole composition. Inverz has created an electronic poem, which is very specific and approachable. Definitely, one of the releases you shouldn’t pass by without listening.

 

mic.gr

"Πολλοί συνθέτες σκέφτονται ότι μπορείς να πάρεις οποιονδήποτε ήχο και να τον χρησιμοποιήσεις. Αυτό ισχύει, εφόσον μπορείς πραγματικά να τον πάρεις και να τον ενσωματώσεις κάπου, και τελικά να δημιουργήσεις ένα είδος αρμονίας και ισορροπίας. Μπορείς να συμπεριλάβεις πολλές διαφορετικές δυνάμεις σ' ένα κομμάτι". Διαβάζω μια από τις καταγεγραμμένες σκέψεις του Stockhausen και ακούγοντας το νέο αυτό LP του Σάββα Μεταξά, τέταρτο για την ακρίβεια, αντιλαμβάνομαι ακόμη περισσότερο το νόημα της ενοποίησης διαφόρων ήχων, με τελικό σκοπό όχι μόνο το πείραμα, αλλά και τη συμμετοχή του παρατηρητή - ακροατή στον τελικό προορισμό του δημιουργού του. Γυρνάω και ξαναγυρνάω το LP στο πικάπ μου (το "My Machines" κυκλοφορεί αποκλειστικά σε βινύλιο από την Granny Records) και δηλώνω ανακουφισμένος που όχι μόνο δε κωλύομαι σε κάθε του ακρόαση, αλλά ανακαλύπτω συνεχώς νέες πτυχές μιας αδιάκοπης ροής ήχων και μελωδιών.Έξι συνθέσεις αποτελούνε το δίσκο αυτό του Θεσσαλονικιού μουσικού, ο οποίος εκτός από μέλος των Good Luck Mr. Gorsky, κατά καιρούς γράφει μουσική για θεατρικά έργα και ταινίες μικρού μήκους, με αφετηρία θαρρώ, πάντοτε, την απροσδιοριστία, τον αυτοσχεδιασμό, την αποδόμηση κάθε τυπικής μουσικής αποτύπωσης. Στο συγκεκριμένο έργο, αυτό που χρήζει ιδιαίτερου σχολιασμού, είναι το γεγονός ότι οι περισσότεροι ήχοι προέρχονται από λούπες και samples που αποκόπηκαν από διάφορα παλιά βινύλια, με τη μετέπειτα επεξεργασία και το αναγκαίο φιλτράρισμα να δηλώνουν παρόν, προ της δημόσιας παρουσίασης, υπό νέα φυσικά μορφή.Αφαιρετική αντίληψη, προσθήκη διαφόρων ήχων των οποίων η πηγή τους - προφανώς - θα παραμείνει αιώνιο επτασφράγιστο μυστικό, κινηματογραφική υφή και μυσταγωγική ατμόσφαιρα που στιγμές φέρνει στο μυαλό μου το soundtrack του "Eyes Wide Shut", του κύκνειου άσματος του Stanley Kubrick. Επαναλήψεις, κοψίματα, τριξίματα, ήχοι που πάνε κι έρχονται, ήχοι που πριν προλάβουνε να γίνουν ενοχλητικοί, χάνονται στο βάθος μια ιδιαίτερης ιεροτελεστίας. Ambient ατμόσφαιρα, αργόσυρτα κιθαριστικά περάσματα, νοσταλγικές αναπολήσεις, πιανιστικά θέματα που βγαίνουν στην επιφάνεια και εξανεμίζονται έπειτα από μερικά δευτερόλεπτα. Η σκοτεινή ατμόσφαιρα, κατά βάση, το βιομηχανικό περιβάλλον και η ηλεκτρονική ευκινησία, στιγμές μου θυμίζουν αντίστοιχα δημιουργήματα των F.S.O.L., χωρίς όμως τη μελωδικότητα και τη ρυθμική αγωγή των τελευταίων.Εν ολίγοις, για να μη μακρηγορούμε, κάτι που ορθώς πράττει και το συγκεκριμένο LP, το οποίο δε ξεπερνά τα 35 λεπτά, ο Inverz παρουσιάζει μια πολύ ενδιαφέρουσα συρραφή ήχων, όπου οι τυπικές δομές καταργούνται, δίνοντας τη θέση σε μια αποτελεσματική διεργασία και ισορροπημένη κατασκευή.

 

noise, a few decks below

ok, posts do fall through the cracks here. What with the holiday season and all that hubbub, what with the string of fabulous gigs in athens we had to provide notice for, I realize i’ve yet to mention the latest LP to come out on thessaloniki’s granny records. And it’s a nice cookie this one, the latest album from good luck mr. gorsky member and standalone solo artist, inverz (real name: Savvas Metaxas), titled ‘my machines‘. His first one on vinyl, fourth in total.

‘my machines’ is quite the departure for Savvas, given that his previous ones carried a heavy Oren Ambarchi influence and also relied, predictably, on guitar, while this one builds its ambient soundscapes mostly out of processed and reproduced vinyl records, disembodied extracts from other sources and so on. Mastered by Giuseppe Ielasi, cut and D+M in berlin, a bright future carved out for it.


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