Background/Info: Werner Urban is an artist hailing from The Netherlands. He already released several productions in between 2007 and 2011, but this work is a kind of comeback. “Dworzec Towarowy” is a conceptual work, which was recorded in an abandoned station in Poland where Werner Urban recorded multiple field recordings he later on reworked and transformed in his studio.
Content: I expected a truly and total experimental work, a bit in the good-old spirit of Staalplaat releases. The result is definitely experimental, but easily accessible. The tracks mix easily recognizable field recordings, spoken voices, electronics and industrial sound treatments. Werner Urban also used some slow rhythms to get it more accessible.
+ + + : This is one of the only artists I’ve heard in years who’s able to mix very experimental and even extreme field recordings together with danceable and sometimes groovy electronics. The work has a visionary approach and definitely makes experimental music accessible for a wider audience of electronic lovers. I like the groovy loops running throughout a few cuts. Werner Urban is a creative artist or should I say a real sound alchemist who has found the procedure transforming rough noises into accessible and exciting electronics.
– – – : In the end it all remains experimental and sometimes a bit improvised. That’s for sure the main difference with ‘usual’ electronic standards and probably hard to endure for ‘classic’ electro lovers.
Conclusion: The main aim of this album was to bring the abandoned place where this album found its inspiration back to life. The least I can say is that “Dworzec Towarowy” became an original and creative process reflecting intelligence and efficiency!
Best songs: “Crushed Can Of Piast Wroclawski”, “Bricks And Holes”, “Glass Shards And A Polish Newspaper”.
Since you’re here …
… we have a small favour to ask. More people are reading Side-Line Magazine than ever but advertising revenues across the media are falling fast. And unlike many news organisations, we haven’t put up a paywall – we want to keep our journalism as open as we can. So you can see why we need to ask for your help.
Side-Line’s independent journalism takes a lot of time, money and hard work to produce. But we do it because we want to push the artists we like and who are equally fighting to survive.
If everyone who reads our reporting, who likes it, helps fund it, our future would be much more secure. For as little as 5 US$, you can support Side-Line Magazine – and it only takes a minute. Thank you.
The donations are safely powered by Paypal.
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish. Cookie settingsACCEPT
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may have an effect on your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.