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.