Unstable compositions aptly named, Hans Castrup’s “Constant Imbalances” plays with dissonance. Piano features prominently throughout adding the melody and, at times, the rhythm. Everything within the compositions gets melted away. With the inclusion of electronics, the songs become extremely uneasy. Usage of unpredictability and chance encounters helps to give the sound a rather lived-in presence about it. Layer upon layer is applied with some of the resulting patterns feeling kaleidoscopic, even serving as the brown acid of psychedelic. By allowing these structures to disintegrate, and fully embracing cacophony at times the songs become unusual charming.
On “backlight” he sets the tone for what follows. “still life” goes even further down the rabbit hole featuring an uneasy alliance between electronics and acoustics. Miniature high pitched screams punctuate the entirety of “question and answer”. Going for a subdued energy is the submerged underwater scheme of “mirror image”. The in and out of focus stance of “simultaneity” messes with listener expectations always threatening a full-on collapse into the abyss. Note bounce off each other on the surprisingly punk ethos of “interiority” for there is a distinct no wave element at play within this sprawling work. Themes from a mystery soundtrack gone wrong emerge all over “half-time”. Truly painful noises emerge out of the aptly named brutality of “realness”. “autobiography” brings the album to a contemplative close.
“Constant Imbalances III” shows off Han Castrup’s uncanny ability to mix noise and pop structures into a disorienting whole.
Part III = 15 short tracks of abstract electronic chamber music. Or in other words: abstract chambers for electronica? As you like. Constant imbalances between harmonies and disharmonies… In any case: poetry in musical form.
All tracks produced by Hans Castrup 2020/21
Mastering by Martin Englert