Stephen Fruitman | Sonomu | June 2009
CDR label Triple Bath issued a second installment last year featuring the handsome splatter art of Themis Pantelopoulos, who runs the label, on its cover. The four tracks on "61:50" range widely in length and were recorded over the course of two years. The track "13:49" featured percussive engine idling - a water pump sampled in the Syrian desert - which grows more in volume than intensity. "04:44" is radio static through which extaterrestrials are unsuccessfully trying to break though to make contact with us - too much unnecessary chatting clogging up the airwaves, I suppose - before being drowned out by piercing feedback. Epic in length, "31:43" is similarly epic in demand on its listener, exposed to a half hour of searing, buzzsaw distortadelica, its pitch changing only slightly - or it maybe it´s the listener´s battered ears adjusting - until degradation sets in around minute twelve and the dominant tone becomes increasingly deep before bottoming out and being forced to let the aforementioned shriek retake command, assertilng itself with renewed authority and brutality for the remainder of the piece. The buzzsaw, it turns out, is actually wind plaguing a spot on Naxos Island in Greece. "11:33" is a welcome recovery centre located in some damp, dark place, grim in all its shades of grey, below ground among the pipes and drains and air ducts. And believe me, it is a comfy respite after the previous assault. Almost like a spa treatment for the ears after the furious punishment to which we´ve been subjected.
Dmitry Vasilyev | IEM | June 2009
Yiorgis Sakellariou is one of the few greek musicians that visited Moscow recently with concerts, his performance was quite impressive, even it was very minimal style drone ambient. However, his music is not famous here, maybe because all his albums were produced by greek labels only - such as Echomusic, Absurd, Lab for Electroacoustic Media, and now is the turn for Triple Bath. This album is titled with its duration time instead of any words, and this is quite usual approach for him. Seems that the idea behind is to give us the point of meaningless attitude for any verbal inclination, because of hermetic and self-sufficient approach to his compositions, they simple don't need any external images and textual forms. The four tracks, again, have no titles, just the duration time and date of recording (July 2006 - August 2008). This gives you the clear idea that here is no common concept, and the tracks are really different. If the first one is a soundscape made from only one sound produced by rotating mechanism, the second one is more noisy and varied, assembling diverse structural changing and interaction in between. More hypnotizing effects presented in the third track, which is the longest here, half an hour of drone noise produced by feedback sound processing - this one is the obvious landmark and favorite of mine, with some moments of beautiful tension and dramatic dynamics. And the last track takes path of field recordings again, this time made somewhere on island shore - but the microphones seem to be drowned in sand or rocks, at least you have the impression of being buried alive and not able to see anything, no air to breathe, only dull vibrations come from the outside, indicating your perception is still working. Yiorgis says that all music besides this final track was recorded live, in real time - and if so, we can just feel jealous to his undoubted skills.
Massimo Ricci | Temporary Fault | April 2009
Enter Yiorgis Sakellariou, aka Mecha/Orga (a human, not an animal). A laptop-armed noise artist who loves to keep things simple: the computer is typically the only source of pain for unsuspecting, uneducated ears. Titles? What titles? The total duration is the name of the disc, the piece length baptizes the tracks. Two of them were gladly appreciated on these shores recently. 61:50 was issued by Triple Bath and it's possibly the more "industrial" of the pair, four distinct segments whose duration ranges from 4:44 to 31:43, whereas 50:01 (on Echomusic) features three connected parts seamed in a continuum of sorts, as in a single composition. In a way it is completely useless separating the merits of these records, and I'm not going to. Mecha/Orga's material is not real racket: there's a structure in there, and we can easily realize that Sakellariou organizes the development of the music carefully, giving it a life-like evolution that usually starts from something barely rippling silence - an interference, a hypnotic circle of energetic malaise - and gradually pumps up both the volume and the width of the sonic accumulation, building veritable walls of unfriendly emissions that literally exclude anyone and anything else from your world if "enjoyed" by headphones. Those nasty slabs of repudiated drones soon become a true force of nature (albeit of a poisoned kind), rendering the skull a potential beehive from which stinging insects carrying thoughts of annihilation incessantly fly. Guess what: these records work properly also at a lower volume. Right now (6:30 AM) I'm attempting to use it as a "distressing ambient", yet it manages to seize the attention with its hallucinating metallic harmonics (the segment in question is the above mentioned "31:43"). The humming throb accompanying the harshness is taking control of the room, the feedback is slashing away at quietness.
Frans de Waard | Vital Weekly | issue 664 | February 2009
So far we have learned to know Yiorgis Sakellariou as an extremely nice young man, playing some excellent electronic/computer music under the name of Mecha/Orga, with releases on his own Echomusic, A Question Of Re-Entry, Absurd and Lab For Electroacoustic Media. His music is along the lines of Roel Meelkop or Marc Behrens, but sometimes he tends to be a bit louder than his fellow mates. That is until now. On '61:50' (being of course the length of this release), he explores the world of noise. Feedback processing in various tracks that wouldn't look odd on a Merzbow CD. I didn't know this was an interest of Sakellariou. I must admit that a world that already has a Merzbow with that enormous output may not need necessarily another Merzbow. Perhaps Sakellariou uses this as an exercise, to see if noise can be his thing too. Yes, it can, but no, please return to the opening and closing pieces of this release: field recordings which are processed and have a dark moody texture to them. Especially '11:33' is a spooky and haunting piece - for me the best of the whole release. Received with mixed feelings. Not bad at all, but not necessary either, except for that final piece.
Tobias Fischer | Tokafi | November 2008
Yiorgis Sakellariou aka Mecha/Orga has released his fifth studio album “61:50” on befriended label Triple Bath. A collection of four minutely crafted works dealing with “micro-levels of change in sonic aspects”, the record collects compositions from between 2006 and 2008 – a period when Sakellariou was gradually exploring territory outside of his own Echo Music imprint and fortifying his position on the Greek Sound Art scene. “61:50” is an album of great purity, with all tracks being built from a minimal array of sources: While “13:49” and “11:33” use field recordings (from Syria and the island of Naxos respectively), the two pieces at the core of the selection revel in harsh feedback manipulation. With all of them (bar one) performed and recorded in real time, “61:50” also emphasises the importance of interacting spontaneously with sounds, working towards attaining an organic flow and attaching seminal emphasis on the subtle refining of details instead of superficial development. With its combination of live elements and pre-recorded elements, “61:50” represents a logical progression for Mecha/Orga. Sakellariou, who has now turned into an underground focal point thanks to his label activities and his work as a journalist, began his musical career in the formation Oberon#, for which he not only wrote songs, but also contributed electric Guitar, Vocals and Keyboards. Classicaly trained on the Guitar, he only turned towards electronic composition in 2002, quickly earning himself a reputation for an oeuvre which was as radical as it was recognisable and fo a style, which seemed to reference Francisco Lopez at first, before taking a turn towards a peculiarly accessible personal script. As much as releasing on Triple Bath is a question of musicality, it is also a statement of friendship. Triple Bath owner Themis Pantelopoulos, after all, released his debut “Axiac Infinity” on Echomusic back in 2005.
Jason | Tilt e-zine | issue 12 | November 2008
The lo-fi digital and highly granulated feedback of the first two tracks was a rather boring opening for my demanding ears. I can take feedbacking when it comes from machines, instruments and tiny (or bigger) fucking buttons - computerized feedbacking is something I fail to grasp. At this moment, you could think or even utter loud: "Why the fuck do we care about your personal opinions? This is a review, not a diary. Describe the music, s'il vous plait". Alas, nothing could be further than truth, my friend. There is only the illusion of objectivity: every description is but a subjective narration. And this is the way things should be: to judge something from a human being having in mind its personal properties, is a necessity. When you don't want to end up in the murky corridors of objective truths and ideologies, that is. Pondering all these, we are happily arrived at track 3 (31:43), though, where Mecha/Orga shows a bit of his good old self. Granulated, yes, feedbacking, might be, but nevertheless, rich, gripping and piercing digital drones full of wailing harmonics, building a highly dreamy drony piece of music. Track 4 is a low frequency black hole and as they claim about black holes, nothing can escape the event horizon. I really waited for 13 minutes for something to happen there, but... So i go back to track 3 for a final taste. The album should be called, 31:43 in my humble opinion.