experimental
Hans Castrup is an experimental musician from Germany, and Symmetric Controversations is his most recent release. With a superb degree of originality, Hans definitely has no fear in presenting us the most surprising, vibrating and intriguing musical compositions, juxtapositions and collages, conceived, created and elaborated at deepest abscesses of his enigmatic, but profoundly genuine creative mind. He definitely doesn’t have any fears by experimenting with the most bizarre and eccentric sounds one can imagine, despite the fact that, personally, in my modest evaluation, he seems a little more “behaved” on this album, so to speak. Flirting smoothly with dark ambient – but only to a modest degree, and it may be involuntarily –, he also gives to the sounds a more continuous framework, if I use as a point of comparison his predecessor record.
The consonantal sounds that whistle over in certain songs, like the second track, shows that the artist is really capable to produce effective noise, noise that sometimes doesn’t sound like music, and that sometimes does. But what it’s special here is the artist’s ability to give an expressive deal of musicality to noises that aren’t musical at all. So, an interesting, organic, authentic form of sonorous expression is definitely crystallized. Despite the fact that the album is a little too concise – having only six tracks –, Symmetric Controversations has a delicate, discreet premise, as well as very likable sonorous features. Sometimes, the sound is very sinister, dense, too close to a tragic and fatalist demise. Certainly, it would be exceedingly useful as soundtrack for a suspense movie, and I certainly think Hans has potential to join the fascinating realm of dark ambient. Although it is undoubtedly a more limited musical zone, Hans definitely has everything to create some sensational masterpieces within this genre.
I definitely enjoyed Symmetric Controversations. Not as experimental as Hans previous album – more restricted to an ambient configuration of expansive densities, although the fifth track definitely has some exceedingly eccentric proclivities – nevertheless, here we have the typical experimentalism that is characteristic of his style. With a grave and solid proficiency, a protuberant, but not overtly exaggerated technicality, an effusive and expressive sonorous creativity, and a decent degree of efficient production, certainly made this album outstand itself for its latent, organic and genuine virtues, while being essentially a genre album. Hans is original, compelling and profusely enigmatic, although, in my opinion, excessively concise this time.
Highly recommended for people who is already familiar to the work of Hans, or that really have a passion for eccentric genres like ambient, experimental and noise music, Symmetric Controversations is definitely worthwhile listening. It’s a pungent dive into an obscure, but lucid world of deleterious, yet poetic emptiness.
Wagner
The consonantal sounds that whistle over in certain songs, like the second track, shows that the artist is really capable to produce effective noise, noise that sometimes doesn’t sound like music, and that sometimes does. But what it’s special here is the artist’s ability to give an expressive deal of musicality to noises that aren’t musical at all. So, an interesting, organic, authentic form of sonorous expression is definitely crystallized. Despite the fact that the album is a little too concise – having only six tracks –, Symmetric Controversations has a delicate, discreet premise, as well as very likable sonorous features. Sometimes, the sound is very sinister, dense, too close to a tragic and fatalist demise. Certainly, it would be exceedingly useful as soundtrack for a suspense movie, and I certainly think Hans has potential to join the fascinating realm of dark ambient. Although it is undoubtedly a more limited musical zone, Hans definitely has everything to create some sensational masterpieces within this genre.
I definitely enjoyed Symmetric Controversations. Not as experimental as Hans previous album – more restricted to an ambient configuration of expansive densities, although the fifth track definitely has some exceedingly eccentric proclivities – nevertheless, here we have the typical experimentalism that is characteristic of his style. With a grave and solid proficiency, a protuberant, but not overtly exaggerated technicality, an effusive and expressive sonorous creativity, and a decent degree of efficient production, certainly made this album outstand itself for its latent, organic and genuine virtues, while being essentially a genre album. Hans is original, compelling and profusely enigmatic, although, in my opinion, excessively concise this time.
Highly recommended for people who is already familiar to the work of Hans, or that really have a passion for eccentric genres like ambient, experimental and noise music, Symmetric Controversations is definitely worthwhile listening. It’s a pungent dive into an obscure, but lucid world of deleterious, yet poetic emptiness.
Wagner
